4.04.2008

People@Jean Nouvel獲2008年普利茲克獎


從瘋狂的美國古瑟裡劇院(GuthrieTheater)到法國充滿異國情調的阿拉伯世界研究中心(InstituteoftheArabWorld),法國建築師讓·努維爾大膽求變的努力再度得到了業界的肯定。昨天,62歲的他榮膺建築界最高榮譽普利茲克獎。

  「過去30年間,讓·努維爾已將建築的理論和實踐推向了一個新的極致,」普利茲克獎評審委員會對其進行了高度評價,「他將敏感好奇、敢於冒險的態度融於每個項目中,使現代建築領域不單有了多個成功案例,更極大擴展了現代建築的語匯,成為後繼者的寶貴財富。」

  在延伸建築詞彙的過程中,努維爾無視傳統分類,而令每個建築物都具有強烈個性,評論界無法對其加以概括歸類。努維爾近年來的作品頻頻刷新了建築的語匯,在巴塞羅那如子彈頭般的阿格巴摩天樓(2005年)和瑞士KKL盧塞恩文化和藝術中心(2000年)中間,我們無法找到固有規律或集權意志。
「在公共空間中創造視覺文本」

  「每次要在正確的地方建設正確的建築,就好像是在尋找缺少的拼圖。」努維爾在一次接受採訪時談及自己的設計感受,「建築物的設計並非為了反映周邊環境。現代生活的多層次體驗,要求建築擺脫複製與承襲。建築本身應該能與環境對話,帶動周邊朝好的方向轉變。」正是由於努維爾對時代的觀察力,讓他獲得了此項殊榮。正式頒獎儀式將於6月2日在美國國會圖書館舉行,努維爾將獲得10萬美元獎金及獎章。

  1945年,努維爾出生在法國西南部菲梅勒,年少時他的志向是成為一名藝術家。但父母和導師希望他有個更安定的生活,於是他妥協選擇了建築設計。「學習建築讓我意識到,我可以直接在大街,在城市,在公共空間中創造視覺文本。」努維爾從20歲開始就因天賦異秉而獲得法國美術學院頒出的建築獎項,25歲,他與人合辦了建築設計公司。

  「光是實體,是材料」

  1987年,因為出色完成阿拉伯世界研究中心的設計,努維爾建立起了國際聲譽。作為展示阿拉伯國家藝術的窗口,建築南面採用了玻璃幕牆,能結合自然天光,自動控制室內光線。在努維爾看來,建築藝術同電影藝術有著一個驚人的共同點,兩者都依賴光的表現,對他來說,光是實體,是材料。

  2006年完成的古瑟裡劇院具有工業化設計特徵,外觀四四方方,借助懸臂橋俯瞰密西西比河。普利茲克評委會認為古瑟裡劇院,與周圍環境既融合又有反差,極好地呼應了城市和密西西比河的風貌,它本身就是一種戲劇性表達,營造了一個魔幻想像的世界。

  努維爾大部分項目在歐洲。2006年落成的巴黎布拉利河岸博物館(QuaiBranlyMuseum)是其中最不羈的一件作品,它離艾菲爾鐵塔數百米,屬於歷史老街區,但努維爾卻將傳統與現代調和得恰如其分,建築幾乎混雜各種設計元素。兩個有著綠色植被牆的主體通過一塊玻璃板連接,北立面多彩的盒狀物,鐵銹色百葉窗構成歷史街區的新興奮點。神秘、瘋狂、古怪,這不是一件讓人輕易就能喜歡的作品。

  一年後,評論又形容努維爾的巴黎愛樂大廳猶如重疊的金屬板材,讓人隱約有種不安感,但是建築師並未因此改變他的創作習慣。

  「建築就像人,某天會消失」

  努維爾目前正在設計位於阿聯酋阿布扎比的羅浮宮的衛星館,半球造型的屋頂讓美術館如同一個剛剛降落的不明飛行物。

  努維爾說在構思項目設計時,他會大量研究項目本身及其周圍地區。「它有什麼樣的故事,周圍環境氣候,當地的文化風土,客戶的期望,規則,市民喜歡什麼樣的東西。我需要仔細分析,不是別的就是每個生活在其中的人,他們是一種文明文化的產物。我出生在第二次世界大戰後。這期間最重要的文化運動就是結構主義。」

  努維爾認為建築就像人類,在環境中長大,並隨著時間而改變,直至有一天消失。「建築永遠是對空間、對城市、對地形的臨時性修正。我們認為它具有永久性,但事實並非如此。」

  ◇ 普利茲克獎

  1979年由凱悅基金會設立的普利茲克建築獎每年度授予一位在世的建築師,該獎被認為是建築界最具聲望的獎勵,人稱「建築界的諾貝爾獎」。在國內,「普利茲克建築獎」經常被譯成「普利策建築獎」,但該獎項卻與普利策獎(thePulitzerPrizes)毫不相干。

@Source: http://www.abbs.com.cn/news/read.php?cate=3&recid=24541

Peopl@Kumiko Inui - 乾久美子


Office of Kumiko Inui
Tokyo, Japan www.inuiuni.com

By Naomi R. Pollock, AIA

Like many young architects, Kumiko Inui launched her career designing bits and pieces of buildings. But instead of churning out bathroom additions and bedroom suites, Inui made her name with eye-catching facades for luxury-brand boutiques. This comes as no great surprise since she apprenticed with Jun Aoki, Japan’s king of high-end retail designers, after studying at Yale and Tokyo’s National University of Fine Arts and Music. “I didn’t really consider going to graduate school in Japan,” says Inui. “At most Japanese universities, students study under one professor, but at Yale I had exposure to lots of different teachers.”

Similarly, part of the appeal of working for Aoki was the unconventional way he runs his practice. Instead of relying on an office manger to oversee projects, he entrusts his staff architects with every part of the design and construction process. For Inui, this meant supervising the Snow Foundation in Niigata Prefecture and c, a tiny house on the outskirts of Tokyo, among other projects. But Aoki has a strict policy of requiring designers to leave his employ after four years.
“Four years isn’t enough time to learn all aspects of architecture, but at the same time, I was ready,” says Inui. Fortunately, she had a forgiving first client: a preschool director who happened to be her grandmother. To perk up the school’s outdated building, Inui inserted vertical strips of glass into its solid exterior wall and painted horizontal, colored stripes on its interior surfaces. The strips and stripes create a crosshatch pattern that evokes the gingham uniforms sported by many Japanese students.

She used paint again as her medium in a boutique for clothing designer Jurgen Lehl—coating the walls, floors, and ceilings of each of the shop’s five rooms with a different one of Lehl’s favorite pigments. The soft hues gradually transition from one space to the next, making each one appear filled with tinted light without distorting the products’ true colors.

Inui is perhaps best known for her facades—each one a visual pun or optical illusion. She made the elevation for Dior in Ginza out of two overlapping sheets of aluminum, dotting the outer layer with perforations so they replicate the woven pattern of Thonet’s famous chair that Christian Dior adapted as his signature motif. Her first stand-alone structure was a pavilion for the town of Shin Yatsushiro in Kumamoto Prefecture. Shaped like a cute, pitched-roof house, it stands in front of a new train station and functions as a waiting area for travelers. Approached from all four sides, the pavilion is an assemblage of flat, semipermeable facades that add up to a 3D composition. Each wall, as well as the roof, is a glass-reinforced concrete plane punctured with square holes. “If it’s raining, you still need an umbrella,” laughs Inui.

Today Inui has plenty of bona fide buildings on her boards, including an apartment building scaled like a house and a house divided into tiny rooms like an apartment building. So even as her projects grow bigger and more substantial, whimsy and clever artifice—ideas she perfected by designing building parts—remain strong currents in her work.

Founded: 2000

Design staff: 6

Principal: Kumiko Inui

Education: Yale University, M.A., 1996; Tokyo National University of Fine Arts and Music, B.A., 1992

Work history: Practice—Jun Aoki & Associates, 1996–2000; Academic—Showa Women’s University, lecturer, 2006–present; Kyoto Zokei University, lecturer, 2001–02; Tokyo National University of Fine Arts and Music, teaching associate, 2000–01

Key completed projects: Komatsu Clinique, Osaka, 2006; Louis Vuitton Taipei Building, Taipei, Taiwan, 2006; Jurgen Lehl Shinsaibashi, Osaka, 2005; Louis Vuitton Osaka Hilton, Osaka, 2004; Shin-Yatsushiro Monument, Yatsushiro, 2004; Dior Ginza, Tokyo, 2004; Jurgen Lehl Marunouchi, Tokyo, 2003; Meleze Gotemba, Shizuoka, 2003; Louis Vuitton, Kochi, 2003; Kataokadai Kindergarten, Kitakatsuragi, 2001

Key current projects: JLHM House, Tokyo, 2007; Hiroo Apartment, Tokyo, 2007

@Source: http://archrecord.construction.com/designVanguard/DesignVanguard2006/05_KumikoInui.asp

4.03.2008

Fashion@非洲藝術 營造歡愉視覺


非洲的部落藝術對於當代藝術發展,尤其是立體派、野獸派等等的興起有著不小的影響,著名的畢卡索、馬諦斯、莫迪里亞尼(Amedeo Modigliani)等名家,便從非洲雕刻、繪畫、織品等豐富的藝術表現形式當中,擷取了許多新穎的素材。本季時尚大吹藝術風的另一個表現面向,就是非洲裝飾藝術在印花織品上的大量使用,使得伸展台上的模特兒,個個看起來好像就要出發前往非洲進行Safari狩獵旅行一般,充滿異國風情的浪漫懷想。本季採用非洲藝術風的設計師,包括了每季於紐約發表新系列的美國設計師 Diane Von Fürstenberg,這位原籍歐洲的設計師來頭不小,她1946年生於比利時布魯塞爾中上階級家庭,曾經嫁給德國王子,本身就是一位穿梭社交圈的名媛。

1970年代投入時尚設計後,歸為美籍,並以紐約為發展舞台。2005年她榮獲美國時尚設計師協會(CFDA)頒發終身成就獎,2006年更成為該會主席。 在本季的設計中,Diane Von Fürstenberg 表示自己的創作受到西班牙文化的強烈影響,她從古典畫家戈雅(Francisco Goya)、建築家高第(Antoni Gaudí)、來自西班牙的時尚大師 Cristóbal Balenciaga、甚至電影導演阿莫多瓦(Pedro Almodovar Caballero)等人作品汲取靈感。

當代西班牙藝術家米羅(Joan Miró)經典的圓形色塊,就被她搬上伸展台。為了營造出濃厚渡假氛圍,2008年 Diane Von Fürstenberg 春夏系列亦推出許多飄逸的印花洋裝,漂染上色彩鮮豔、宛如非洲部落服飾的圓點、幾何圖形,明亮輕盈當中卻又透出幾分高雅。另外一位美國設計師 Oscar de la Renta,本季除了剪裁精湛的晚宴裝與小洋裝之外,同時亦有一系列新裝由充滿非洲熱帶風味的印花洋裝組成,企圖以咖啡色線條勾劃出鋸齒、圓點等色塊,再搭配鮮艷的亮色圖紋,營造出非洲藝術既原始又富於動感的視覺穿透力。

@Source: 美麗佳人玩物 2008 春季號
撰文╱李俊明;編輯/游雅如;圖片提供╱Corbis、fashionactive、Louis Vuitton

Fashion@抽象藝術 讓色彩跳躍起來


抽象藝術 讓色彩跳躍起來

除了路易威登與 DOLCE & GABBANA 之外,另一個值得注意的品牌,是來自義大利的 Marni 與 Chloé。優雅的 Marni 原本鎖定的就是具有藝術鑑賞力的女性,因此,雖然時尚評論家認為2008年春夏季的 Marni 堪稱 High Tech 與 Hi Touch 的結合,包括對於布料選用極其講究,以及剪裁表現極為簡約細膩等等,但2008年 Marni 春夏系列同樣也瀰漫著如同當代藝術作品一般的設計感。 新任設計師 Consuelo Castiglioni 讓 Marni 新裝在視覺上以搶眼的色塊來切分線條,因此出現了藍與灰、綠與卡其、桃紅與灰、芥末黃與墨黑、深藍與芥末黃等奇特而對比的色彩組合,分別以水平或垂直的方式,主導整件服裝的視覺。

我們在這裡頭可以看出抽象藝術大師羅斯科(Mark Rothko)以及哈同(Hans Hartung)的深刻畫風,也躍上了 Marni 新裝之上。如今已是經典名家的羅斯科,是位1903年生於拉脫維亞的猶太裔美國藝術家,雖然他自己極力抗拒被定型歸類,但藝術圈一般認為他的作品屬為抽象表現主義一派。2005年底,已經過世的羅斯科在1953年所創作的油畫作品《Homage to Matisse》以2250萬美元打破戰後當代繪畫的拍賣價格。

後來在2007年五月,他於1950年所創作的《White Center(Yellow, Pink and Lavender on Rose)》,再次打破自己創下的記錄,於紐約蘇富比拍出7280萬美元天價,因此說他是抽象主義當紅的大師,一點也不為過。羅斯科最經典的創作風格,也就是單純色塊所組成的繪畫作品,在戰後1948年後開始大量出現。當時羅斯科的母親剛剛過世,在情緒低落的冬天,他發現將紅、黃、橘、藍、綠、灰、黑等兩種到三種對比或互補顏色的對稱色塊進行排列後,以水平或垂直方式排列的畫作,自有它們的生命,能夠表達出強烈的人生悲劇、狂喜、命運等情境,也引出人類最基本的情感,因而創造出獨特的視覺語言。

我們在本季Chloé新系列,也可以看到類似的抽象表現主義風格。 另一位藝術概念被沿用在本季 Marni 的藝術家哈同(Hans Hartung),1904年生於德國萊比錫,對於歐洲、美國六○、七○年代的藝術家有不少影響。他先以立體派畫風出名,並受到俄國畫家康丁斯基等人的影響。二次戰後哈同以抽象畫風為主的藝術事業開始起飛,他最為人知的就是在塗上顏彩的背景之上,安排如同書法揮灑一般、充滿活力的黑色線條。我們在一些 Marni 新裝的抽象圖紋表現上,也可以看到一點這樣的痕跡。

@Source: 美麗佳人玩物 2008 春季號
撰文╱李俊明;編輯/游雅如;圖片提供╱Corbis、fashionactive、Louis Vuitton

Fashion@幾何美學 穿透知性美感


幾何美學 穿透知性美感

幾何美學,一直是時尚圈最喜愛採用的藝術風之一。時尚大帝卡爾.拉格斐一向極為善於營造幾何線條,因此要說到幾何藝術風,就非得要觀察拉格斐的作品不可。義大利品牌 Fendi 由拉格斐所推出的2008春夏新系列,在一片黑白單色的飄逸洋裝當中,出現了紅色圈圈所暈染開來的歐普(Op art)圖紋,延伸到整個連身裙之上,形成一種如同漩渦般的引人視覺效果。

不但 Fendi 可以看出幾何圖形的美感,拉格斐也持續將他由當代幾何美學所得來的靈感,延伸到本季他自己名下的 Lagerfeld 新裝。從 Lagerfeld 發表會現場的彩虹霓虹燈、伸展台,到彩色的尖刺手環、頸環等配件細節,我們可以發現除了虹彩漸層所形成的主題不斷重複出現,也有時尚評論家認為,他的此季作品帶有上世紀初維也納分離派藝術風格的華麗味道。

在拉格斐的作品上,我們可以看到兩位擅長幾何藝術的大師風格,一是來自烏克蘭的馬勒維奇(Kazimir Severinovich Malevich),另一位則是各大美術競相收藏的亞歷山大.卡爾德(Alexander Calder)。 1879年生於基輔的馬勒維奇是抽象幾何藝術先驅,也是俄羅斯前衛藝術與至上主義(Suprematist)運動的重要人物,他的作品充滿著一種深沉的氛圍,也常常以方形、圓形、長形線條去組構畫面。 另一位亞歷山大.卡爾德,1898年生於美國賓州,以可動式藝術以及大型幾何公共藝術聞名。

由於他本身具有機械工程背景,因此他極為注重雕塑在工程力學上的平衡等細節,並藉此發展出可動式雕塑的創作基礎,在抽象雕塑的表現相當受到肯定。仔細觀察拉格斐的設計,我們可以聯想到兩位抽象幾何藝術大師的前衛線條,延伸在服裝的整體構想上,讓拉格斐的風格在理性當中,卻又充滿了一種難以言喻的結構之美,而更是形成了一種獨特的時尚語彙。你瞧!不論是抽象藝術、表現主義、或是非洲藝術…就是如此憑著與偉大藝術相繫的絕妙時尚創意,讓全球今年春夏流行趨勢,充滿著當代藝術的不羈趣味。

@Source:
美麗佳人玩物 2008 春季號
撰文╱李俊明;編輯/游雅如;圖片提供╱Corbis、fashionactive、Louis Vuitton

Fshion@時尚與藝術



當代藝術與時尚結合並不是新玩意兒,在所謂 Modern Art 還未如同現在普遍成為時尚語彙之前,六○年代的設計大師聖羅蘭(Yves Saint Laurent)就已經開始將畢卡索、馬諦斯、布拉克(George Braque)、哈克尼(David Hockney)、蒙得里安(Mondrian)等如今已自成一家的藝術風格,融入到他的時裝裡頭,展現了時尚快速反映時代風潮的特性。隨著網路時代資訊與娛樂的散佈更為迅速,時尚圈也必須推出更多、更豐富的內涵;一方面是由於設計者個人對於藝術的喜好與涵養,一方面也因為藝術與時尚的跨界結合符合市場考量,更能激發創意火花,因此如今時尚與當代藝術結合得更為緊密,藉由藝術的豐富內涵與話題性,也讓時尚品牌能在每季推出令人耳目一新的作品。

話題藝術 為設計注入驚喜 頂尖時尚精品將當代藝術融入設計當中,玩得最為叫好也最為叫座的,首推Marc Jacobs所執掌的路易威登(Louis Vuitton)。從市場反應熱烈的村上隆開始,到這一季攜手合作的美國藝術家 RichardPrince,MarcJacobsRichard Prince,Marc Jacobs 可說為近十年來時尚圈與當代藝術的結合,做出了極為出色的示範。

Marc Jacobs繼自荷蘭古典大師維梅爾(Jan Vermeer)善於捕捉光影的繪畫風格汲取靈感,2008春夏再將 Richard Prince 的當代作品搬上伸展台,引起一陣驚嘆。 1949年生於巴拿馬的 Richard Prince,被譽為是近三十年來美國最富創新精神的畫家、攝影家與藝術家,經常因為出人意表的作品而廣受爭議。他在1975年開始以攝影作品進行轉貼創作之後,開始受到高度矚目。2005年,他的影像作品《Untitled(Cowboy)》在佳士得拍出百萬美元高價,創下攝影作品價格新紀錄。 Richard Prince 之所以備受爭議的原因,除了一些主題聚焦在探討「性幻想」、「性窺視」、「性焦慮」,並大量自通俗、流行文化取材之外;他由1977年開始,就開始以翻拍或拼貼其他作品攝影作品而藉此形成「自己」的一種風格,作為創作主軸。因此可以說他的作品最大特色,就是一種「取樣」的藝術,所以也有人形容,他是我們這個時代的另一位安迪渥荷(普普藝術大師)。

他相當著名的「俏護士」系列,就是將掃瞄過的書封面以及戴口罩女護士的影像合成在一起,以噴墨方式印製在大幅畫布後,再塗繪上一層壓克力膠彩的一種技法。這裡頭藉著電子掃描、視覺取樣、攝影、印刷、繪畫、影像複製等過程,營造出充滿「層次堆疊」的意象。 由於Marc Jacob十分熱愛收藏當代藝術,因此2007年他便邀請Richard Prince一起創作路易威登2008年的春夏系列,其中靈感發想來源,有不少來自前述的「俏護士」系列,在日前的LV發表會上,Marc Jacobs就索性讓模特兒打扮成畫中帶著口罩的女護士出場,展示若隱若現的春夏新裝。 融合了Richard Prince的藝術創作,2008年LV春夏新系列,除包括畫作中的護士裝之外, Richard Prince的「笑話」(Jokes)、「卡通」(Cartoons)也運用在新款設計上。帶有Richard Prince塗鴉印染的創作風格為新款手提包渲染上活潑的氛圍,重新詮釋的Monogram圖紋,經過潑漆、褪染等17道繁複流程,因此索價不斐。

東方味藝術 表達前衛時代氛圍 不但 Marc Jacobs 極愛當代藝術,Prada 的設計總監Miuccia Prada也是另一位擁抱當代藝術的時尚總監。她持續而頻繁地邀請各地知名的前衛藝術家與創作者一起合作;荷蘭建築師庫哈斯(Rem Koolhaas)、紐約設計工作室2x4等等,都曾與她攜手推出令人驚艷的作品。 Prada 成立的基金會,在藝術與時尚之間,搭起了一座完美的交流橋樑。

Prada 基金會除積極贊助概念藝術家 Vanessa Beecroft、錄像藝術家 Francesco Vezzoli、裝置藝術家 Dan Flavin 等當代藝術家進行創作與展出,過去七年來,Prada 陸續邀請藝術家為紐約、比佛利山莊、東京旗艦店進行特定藝術創作;它可以是如同壁紙的平面塗繪,也可以是空間氛圍的精心營造,甚或也可能是動畫短片的光影,抑或是互動式媒體的視覺表現。 去年中,Prada 為了完整呈現2008年春夏新裝概念,就邀來2x4的藝術家開始創作一部四分鐘長的動畫短片《顫抖的綻放》(Trembled Blossoms),在近期甫對外公開,以凸顯時尚與藝術結合的視覺概念。這部短片模擬印刻版畫的方式,細膩又寫意的筆觸呈現了繁花盛開的景象以及凝芙女神(nymph)的優雅姿態,將新藝術、東方空靈的繪畫趣味都融入進來。

此次 Prada 與 2x4 Studio 的 Michael Rock、Sung Kim 以及洛杉磯插畫家 James Jean 所共同推出的《顫抖的綻放》,不但結合了延用先進影像技術的當代前衛藝術,也將這系列視覺呈現化為2008 Prada 春夏平面廣告形象。我們可以發現,這些中國水墨畫的筆觸,被用來傳達 Miuccia 心中的夢想之境,所以小精靈會出現在新一季的服裝之上。至於服裝的設計,我們還可以找到中國式盤扣、立領等細節,不經意流露出以東方氣韻結合西方時尚觀點的企圖,表現藉當代藝術逃離渾屯世界,在時尚唯美中尋找心靈桃花源的設計構想。

噴濺藝術 以力道震撼人心2007年發表會才剛在瑪丹娜《The Confessions Tour》巡迴演唱音軌節奏中落幕的 DOLCE & GABBANA 秋冬系列,與瑪丹娜的演唱會主題一樣,大量採用由「馬術」得來的靈感進行創作,於是我們看到整個系列大量採用金屬束腰,營造出修長、冷冽的look之後, 2008年的春夏系列, DOLCE & GABBANA 又猛然反轉風格,其中最引人矚目的,就是他們在自家工作室於輕柔烏干紗上以手工潑墨暈染出的顏彩,推出讓人耳目一新的春夏作品。

DOLCE & GABBANA 設計師 Stefano Gabbana 表示,為了讓新裝富於新鮮感,因此這一季特別將藝術與時尚這兩個主題結合起來,除了帶有一點東方潑墨技法所營造出的意境,另外這些顏彩的恣意潑灑,也讓人聯想起美國著名抽象藝術家傑克森.波拉克(Jackson Pollock)以及女藝術家瓊恩.米契爾(Joan Mitchell)的出色作品。波拉克最著名的風格,就是讓顏彩自由的滴落,而形成一種炫爛的抽象線條,讓畫面呈現繁複而狂亂的風格。

至於瓊恩.米契爾,則是1925年生於美國芝加哥的著名抽象表現主義藝術家(Abstract Expressionist),也是少數當代具有國際知名度的女性藝術家,她在早期受到梵谷、塞尚、康丁斯基等人的影響,後來則又追隨荷蘭抽象藝術家德庫寧(Willem de Kooning)以及美國抽象表現藝術家克萊恩(Franz Kline)的畫風。 仔細觀察瓊恩.米契爾的大型畫作與 DOLCE & GABBANA 春夏新系列之間的相似之處,我們會發現狂放不羈的畫風與新裝,同樣都以噴濺的色彩,散發強大情感張力。

瓊恩.米契爾曾經形容自己的畫作,是想要傳達出如同「凋謝向日葵的感覺」。當這些噴濺的顏彩躍上了 DOLCE & GABBANA 推出的小洋裝、蓬蓬裙、無袖上衣、長褲等單品的纖維之上,不但讓色彩在服裝上的效果極為跳躍,也更增加了一種人文創作的質感,予人無邊的想像空間。


@Source: 美麗佳人玩物 2008 春季號

撰文╱李俊明;編輯/游雅如;圖片提供╱Corbis、fashionactive、Louis Vuitton

3.15.2008

Arch@Grass covered building in Seoul, Korea





Architects Minsuk Cho and Kisu Park of Mass Studies designed this grass covered multi-level building to house Belgian fashion designer Ann Demeulemeester’s store in Seoul, South Korea.

The building was completed in October 2007 and uses foliage to cover both the external and internal wall surfaces.

@Source: http://dkdesignstudio.wordpress.com/2008/01/14/grass-covered-building-in-seoul-korea/

Fashion@巴黎時裝週 遊戲幻境

Chanel宛如童話世界般的圓形秀場,經典標誌如雙色鞋、五號香水、山茶花、菱格紋包、斜紋軟呢外套…,都成了「旋轉木馬」的主角。(法新社)

雪紡上衣搭配上及踝的斜紋軟呢長裙。寬版腰帶又回來了。(法新社)

芭蕾舞女輪廓隱喻少女時期的Queen Victoria。(美聯社)

Alexander McQueen此次靈感來自英國殖民印度的19世紀,讓服裝帶有的「紗麗」味。(法新社)

以黑色、灰和白色為主的畫面,覆蓋立體的裙裝線條更加突出。(路透)

藝術品般的頭飾,像老榆木的滄桑,有一股神秘的力量(法新社)

Alexander McQueen王室取材的服裝靈感,與場中央的「老榆木」,一起演譯了冷冽而孤單。(美聯社)

巴黎時裝週帶來新鮮時尚,還有各種跳脫模式、極盡想像力與戲劇張力的藝術幻境。


旋轉木馬的誘惑

Chanel在巴黎大皇宮搭了一座金色的旋轉木馬。更可愛的是,那些旋轉「木馬」,全都換成巨大的Chanel精品。

巨型的山茶花像面牆,而金色菱格紋包包,幾乎跟你一樣高。模特兒可能坐在雙色鞋或手鐲,也可能坐在雙色鞋與鑲著珍珠、CC Logo的大手鐲…,在場的所有人,就像走進Chanel精品遊樂園。

Chanel 剛在香港起跑的Mobile Art方興未艾,巴黎秋冬秀場更給了她製造幻想泉源的場域。設計總監Karl Lagerfeld的時尚魔法,先在模特兒在頭髮上灑上金粉,再讓A-Line為主的線條,以外搭長、內搭短的迷你裙與長至腳踝的外套,在黑、海軍藍、灰 色以及芥墨綠的調和中,帶來一連串的華麗與高貴。

貝蕾帽將是今年秋冬主要的配件;大量膚色加刺繡、滾黑邊的雙色襪、以及粗跟的漆皮瑪麗珍高跟鞋,都是源自20年代、Coco Chanel佳績布料剪裁的兩件式套裝,最新的配件。另外,寬腰帶又回來了!

無庸置疑,這又是Chanel另一個驚人之舉。這個以旋轉木馬裝置,隱喻夢想與歡樂的圓形劇場,不知道裝載了多少女人的期望。尤其當模特兒從伸展台,一個個踏進這個樂園,藝術角度提供攝影鏡頭一個相對性的縮小範圍,那些高挑的模特兒,是不是就像音樂盒中的小玩偶?

撼人的地景藝術

Yves Saint Laurent的秀場很像克里斯多(Christo)與珍克勞德(Jeanne-Claude)的地景藝術(Land Art)。你在秀場看到的那些白牆、由地竄出的支柱,乍看好像硬梆梆,感覺很像硬的雕塑,但它們其實裡頭完全沒有框架,因為這些都是帆布「繃」出來的。

剛 剛說的克里斯多與珍克勞德,是美國地景藝術家。他們夫妻倆以各式布材包裹踢然地形與建築標地為名,包括島嶼海岸、大樓地標與大橋。經他們包裹,這些習以為 常的景象,都造成視覺的震撼效果。從YSL的秀場看來,創意總監Stefano Pilati大概為他的「未來女軍官」系列,做了一個想像中的火星景。

慣用的非洲元素(Safari)消失了。西瓜皮黑髮、黑脣膏取而代之。寬扁型墨鏡遮蓋眼神的行進,高腰、帶著香蕉弧形的褲管、強烈幾何意味的剪裁,層層疊配Pilati的未來主義;黑、灰和白色的畫面,讓覆蓋立體的裙裝,直接展現衣服的立體效果。

YSL這次很結構、很未來的風感受,讓部分時尚評論家聯想Nicolas Ghesquiere之前曾對Balenciaga下的苦心,每一件服裝都如同極力雕塑的工藝品。

印度女王和老榆木

Queen Victoria時代的大英帝國,殖民主義擴張強權。Alexander McQueen冥想那個時代,希望以時尚代替歷史記載的罪,用伸展台彌補許多當初的遺憾。

Alexander McQueen想像一棵上百年的老榆木,就像是個看盡人世繁華與殞落的智者,訴說了從Queen Victoria天真的幼年開始,在樹旁玩耍,從少女成為青少女、青年,到她戴冠登基,以及被宣布成為印度女皇的心路歷程。

McQueen為此曾實際走訪印度,並在回國後關在自己的工作室,像個工作狂似的足不出戶,終於在巴黎時裝週,將他的想像搬上伸展台。

秀 場中央的老榆木,先有像芭蕾舞伶的浪漫與秀麗、像印度傳統服裝、紗麗的民俗風格,後來則漸漸莊嚴的,出現羽毛飾品、紅色披風,圍飾白鼬毛皮、金色刺繡與珠 寶頭冠…,蓬群有泡沫般的摺邊,指向宮廷的奢華;而冷酷的氣質也刻劃了女王的榮耀,宛如Queen Victoria全盛時期的壓軸,在最後掀起高潮。


@Source: http://www.libertytimes.com.tw/2008/new/mar/14/today-style2.htm
記者方惠宗/綜合外電報導

Fashion@巴黎時裝週 魔幻寫實

「Dream On」標語立體浮起,象徵Viktor & Rolf對時尚夢想的堅持。(美聯社)

Balenciaga在膠質般的貼身洋裝,繪上惡魔世界的背景。試圖在純粹、無裝飾的縝密線條中,探索服裝所能帶給身體最大的力量。(歐新社)

模特兒踏著漫長的喀什米爾地毯,也踏上Hermes未走完的印度之旅。設計師Jean Paul Gaultier以大量的絨面料與捲曲羊毛,帶來異國感的尊容華貴。(歐新社)

Christian Lacroix藉打摺讓服裝膨起、有立體感,又配上印花與精靈古怪的圖案。這些愉悅的特質,似乎是他用來捕捉年輕世代的作法。(歐新社)

Miu Miu秀上,模特兒像是戴著泳帽完整秀出整張臉,木訥的表情像是機器娃娃。用雷射切開的空間,讓毛氈洋裝滲透底層的對比色。(法新社)

Dior秀上誇張、特意加大的深邃眼妝,製造了一種如同美國甘迺迪時代的女人,端莊賢淑的戲劇效果。(路透)

細碎印花與皮草緊身外套的搭配實用又華麗。鎖定年輕女孩的Chloe,正繼續在品牌的全盛時期中穩健邁進。(法新社)

塗鴉長袍藏高蹺,法國舞蹈家展特技──這應該是Vivienne Westwood秀上最讓人捏冷汗的一幕。(美聯社)(法新社)

設計師Ivana Omazic加入Celine以來,設計總以現代女性所需的俐落與行動力為訴求。這套多層次雪紡洋裝,被視為新風格的表現。(歐新社)


Hermes搭配綁繩腰帶的洋裝,輕鬆卻亮眼的展現年輕氣息。(歐新社)

設計師把時裝作成藝術品,讓這些「Wearable Art」啟動創意新頁。

時尚的實驗藝術

先看這場讓人「驚驚」的秀:踩著高蹺、穿著如同窗簾披掛的模特兒,是Vivienne Westwood找法國舞者演出的「特技」,用意是想表現秋冬季「叢林生活」的主題。

她從英格蘭諾丁漢(Nottingham)Portland School徵召了七、八歲的小朋友,要小朋友們想像自己是居住在叢林裡、為了保護自己的環境而對抗暖化的戰士,讓他們徒手彩繪出,能融入森林背景而不被發現的衣著。換句話說,這是偽裝用的服裝。

其 實Vivienne Westwood秀上常發生模特兒跌倒事件,而且都摔得不輕。因為她們總得穿上Vivienne女士所設計、奇形怪狀又高陡難耐的高跟鞋。不過, Vivienne Westwood在今年的秋冬巴黎時裝週中,可再沒發生任何讓模特兒跌飛到九霄雲外的駭人場面,原因不在於設計師終於大發慈悲,肯為鞋子減少天馬行空的收 起高度,而是「腳下工夫」更高了。而且,竟然還是高蹺!

因為 Vivienne Westwood「擅摔名模」的前科,讓在場的人為這位「高人」捏了把冷汗。反倒是受邀坐在前排、那些為Vivienne Westwood貢獻天真創意的小童,可是看得津津有味。

相 較於將特技擺在秀場的Vivienne Westwood,喜歡後現代主義與未來議題的設計家,例如Viktor & Rolf、Maison Martin Margiela、Balenciaga、Tsumori Chisato或Junya Watanabe…等,則將人體當作撐起藝術衣裝的支架。

Martin Margiela像太空人的流線緊身裝,給了時尚最成功的實驗性演出;Junya Watanabe用雕塑技巧剪裁服裝,罩上奇怪頭套的模特兒宛如石柱;而Balenciaga膠質洋裝上、壁畫般的惡魔世界,讓人在毫無裝飾的縝密線條 中,也能感受服裝的力量。

Viktor & Rolf不喜歡時尚稍縱即逝的感覺,因此他們直接將「No」、「Dream On」,以招牌般的立體標語,直接鑲在衣服、或是畫Model在臉上,用3D標語反應自己對時尚夢想的堅持。喜歡童話的Tsumori Chisato,則以大面積蓬鬆的漸層摺邊,帶來冬日的花園故事。

美少女時代

特 意加大了模特兒的深邃眼妝,讓「一個眼睛兩個大」,60年代的端莊淑女,具體而強烈的出現眼前。Dior以60年代為主題的秋冬系列,表現歡樂與活力。 Chloe招牌的印花雪紡,也輕柔亮麗的踏著青春舞步…。08秋冬巴黎時裝週帶來實驗性的時尚藝術,更帶來青春美少女的舞曲。

撇開厚重的裝束,大量的洋裝無疑奠定女人在今年秋冬預備要有的浪漫形象。

Chloe 在Paulo Melim Andersson接手之後,更加穩定品牌大受歡迎的地位。碎花透明硬紗與緊身皮草搭配出嶄新風格,加上許多在踝部有翻摺設計的鞋款,簡約又率直的穿搭, 讓人瞬間年輕有活力。Hermes延續印度主題的卵石花紋皮革與粗針羊毛衫固然值得一提,但簡單的洋裝搭配綁繩腰帶,卻不費力氣的激發青春泉源。

Celine從第一套開始,就是一連串的風衣與運動元素,重複性太高、一層不變,讓許多時尚評論家看膩了這種平淡無奇的感受。可是當長禮服、多層次輕柔雪紡紗加上大膽的Print一出現,讓系列整體有輕有重、有硬有柔,馬上讓設計師Ivana Omazic扳回一成。

Miu Miu用雷射切出幾何空間的洋裝,讓生活必備的服裝,也有精細作工。掌握到年輕世代需求的Christian Lacroix,推出許多有立體感摺飾、可愛圖案與刺繡的平肩洋裝──這也是他的得意之作。

@Source: http://www.libertytimes.com.tw/2008/new/mar/14/today-style1.htm
記者方惠宗/綜合外電報導

3.14.2008

Travel@Bali Showroom

Interior Design 2008 - Bali Showroom

There is nothing better, than to relax in Indonesia. It’s really miraculous.

"An architect is the drawer of dreams" by Grace McGrave

@Source: http://artstyleonline.com/photophrase-of-the-day/bali-indonesia-magic-of-paradise/

Fashion@紀念創辦人 MIKIMOTO珠鍊預購

4月底將來台展出的頂級珠寶展系列,復古流蘇珍珠項鍊日幣售價13,650,000(約台幣455萬元)
圖/MIKIMOTO提供

於日本限量發售的公益鍊墜,正面和側面造型都別具巧思。
圖/MIKIMOTO提供

今年適逢「養殖珍珠之父」御木本幸吉誕辰150周年,其一手打造的品牌MIKIMOTO於日本推出系列限量版紀念新品,包括各種飾品、腕表以及最能展現珍珠之美的珠鍊等20多款設計,台灣4月將限量預訂並舉辦珠寶展。

曾說過「要以MIKIMOTO珍珠來妝點每位女性脖子」的御木本幸吉,於1893年成功培育第一顆養殖珍珠,雖然來不及看到每個女生都戴上珍珠,但其不懈努力下,今日的MIKIMOTO早已成為全球頂級珍珠代名詞。

MIKIMOTO品牌副總周美娟表示,御木本幸吉不僅是品牌創辦人,更是藉珍珠將日本推向世界,發揚日本珠寶工藝技術的重要人物。

由於紀念版商品僅於今年度限量發售,在與總公司爭取下,台灣成為海外唯一發售紀念款之處,4月25日將有3款紀念款珠鍊與頂級珠寶一起來台開放預購,每款限量10條,售價從日幣220,500元至262,500元不等(折合台幣約73,500~87,500元)MIKIMOTO首席設計師矢島友博特別設計機械珠寶表,男女各一款,日本另發售公益商品,正面宛如含著珍珠的阿古屋母貝純銀鍊墜,側面看來卻是一尾小魚,部分所得將捐日本國土綠化環境保護協會,資助海水水質改善。

@Source: 2008/03/14 聯合報 ╱記者陳若齡 http://udn.com/

Arch@Gucci flagship, NYC


‘We didn’t have many corners of Fifth Avenue left!’ joked Gucci CEO Mark Lee at a press conference at the company’s new flagship store this week. The largest Gucci store in the world, which has a gross area of 46,000 square feet and will open to the public on Friday, thronged with the fashion cognoscenti, in town for New York Fashion Week, and a wonderfully bequiffed Donald Trump.

Located in the Trump building, the new store was designed under the watch of Gucci’s Creative Director, Frida Giannini (who was also present at the event and said that, after fashion, her passions in life were architecture and interior design), and plays with light and transparency: the façade, designed by James Carpenter, is a vast sheet of glass that allows the natural light to pour across all of its three floors, to scintillating effect.

‘The gold replaces the chrome from previous stores,’ said Giannini with a smile of a girl that’s got her way, and indeed the metal, the fused bronze glass, and the traditional dark rosewood do give the space a comforting atmosphere - something of an achievement considering its open areas are larger than a lot of stores on the Avenue.

Appropriately, last night's party to celebrate its opening was similarly grand in scope. The cause? UNICEF. The host? Madonna. The venue? The United Nations building.

@Source: http://www.wallpaper.com/fashion/gucci-flagship-nyc/2088

Arch@Sitzwohl restaurant, Innsbruck


Zaha Hadid's futuristic funicular railway station isn't the only new design-conscious place to visit in Innsbruck this season. Architect Irmgard Frank has transformed Gilmschule, a historic school building in the centre of Innsbruck, into the spacious restaurant and lounge Sitzwohl.

Forming part of the Stadtforum Innsbruck and its gallery for contemporary photography and arts, the venue is fashioned with a view to visual experiences as much as gustory satisfaction. The expansive dining area is subtly divided by light and dark elements. Angular wooden pillars contrast with glowing amber 'luminaries' that are interspersed between groups of tables.

This theme of illumination continues upstairs with the identically lustrous amber front of the ground floor bar. In the lounge area, winged lamps float above groups of elbow-high tables where an afternoon lunch is enlightened by views to a calming Japanese garden and thoughtful images from the neighbouring gallery.

Website: http://www.restaurantsitzwohl.at

3.13.2008

Travel@36 Hours in Taipei, Taiwan


A view of the city with Taipei 101 rising in the distance.

Photo: Christie Johnston for The New York Times

The public hot springs in Beitou, a Taipei suburb.

Photo: Christie Johnston for The New York Times

The New York Times Published: March 2, 2008

TAIPEI, the vibrant capital of Taiwan, distills the best of what Asian cities have to offer — great street food, crackling night life, arguably the world’s best collection of Chinese art, and hot springs and hiking trails reachable by public transport. With interest in mainland China surging, Taipei — one of the most underrated tourist destinations in Asia — offers a look at a different side of China, one that escaped the deprivations of early Communist rule and the Cultural Revolution. Here is a Chinese culture (some contend that it is uniquely Taiwanese) that practices bare-knuckled democracy and has preserved traditions thousands of years old in a way that was impossible to do on the mainland.

Friday

3 p.m.
1) ANCIENT WAYS

The National Palace Museum (221 Chih-shan Road, Section 2; 886-2-2881-2021; www.npm.gov.tw/en/home.htm) is considered by many to be the finest repository of Chinese art in the world; it houses artifacts dating back to the earliest days of Chinese civilization. The collection includes oracle bones, which have the first known written Chinese ideograms, as well as ritual bronze vessels, Ming Dynasty pottery and jade sculptured into the shapes of cabbage and fatty pork.

5 p.m.
2) TOP OF THE WORLD

But enough of ancient culture, at least for now. Immerse yourself in modern Taipei by going deep into the belly of the tallest building in the world, the 1,670-foot Taipei 101 (7 Xinyi Road, Section 5; www.taipei-101.com.tw/index_en.htm). The first five floors, with stores like Armani, Louis Vuitton and Sogo, should satisfy any shopping urge. Take a high-speed elevator to the indoor and outdoor observation decks, starting on the 89th floor, for unparalleled views of Taipei and its environs. In every direction lie city blocks and avenues winding among concrete-and-glass towers, with verdant hills rising in the distance. Wisps of cloud float past the windows. Beware of vertigo.

7 p.m.
3) OYSTERS IN THE SKY

Dinner is only a few floors away. Go down to the 85th floor of Taipei 101 to feast on traditional Taiwanese dishes at Shin Yeh (886-2-8101-0185). Try the deep-fried oysters and rolls stuffed with taro and shrimp. Set dinners start at about 1,600 Taiwan dollars per person ($50.40 at 31.75 Taiwan dollars to the U.S. dollar). Be sure to make reservations well in advance, ideally several weeks before arriving.

9 p.m.
4) MARTINIS WITH MOOD

Lounge bars have popped up all over Taipei. If you’re in a mood for dessert with your drink, try the bar in the consciously hip People Restaurant (191 Anhe Road, Section 2; 886-2-2735-2288). The attitude starts even before you enter: the double doors have no handles, nor do they open automatically. Figuring out how to get in is only part of the fun. Once inside, walk through the shadowy industrial rooms and take a seat at the bar or in the lounge, where cocktails are served in large glass globes. Next, saunter down the road to Rewine (137 Anhe Road, Section 1; 886-2-2325-6658), whose head bartender has won international awards for his unique cocktails.

Saturday

6 a.m.
5) CHANNELING INNER ENERGY

If you’re heading back to your hotel at dawn, or need some fresh air early in the morning, stop in at the largest public park in the city, Da An Park. It cannot compare to New York’s Central Park in size — the width and length each stretch only a few city blocks — but the smattering of tropical foliage, along with paths meandering across a level green field, endow the park with a serene air. You can watch Taipei’s dedicated tai chi practitioners going through their moves or perhaps an elderly woman doing a sword dance.

9 a.m.
6) STEAMY MORNING

After a quick breakfast at one of Taipei’s many corner bakeries, hop on the subway, called the MRT, to the New Beitou stop, about 40 minutes from downtown. The northern town of Beitou is renowned for its hot springs resorts, some modeled after those in Japan. Walk up the hill to take a soak at one of the newest of the spas, Villa 32 (32 Zhongshan Road; 886-2-6611-8888; www.villa32.com). It has all the atmosphere of a luxury spa in a uniquely Taiwanese setting, with outdoor pools of different temperatures shielded by wooden awnings and the shade of leafy trees. Rent a room for several hours or spend the morning with other bathers in the outdoor pools, separated by gender.

1 p.m.
7) READING TEA LEAVES

Taiwanese are discerning tea-drinkers, and going to teahouses is popular here. One local favorite is De Ye Cha Chi, near the Shandao Temple MRT station (3-1 Zhen Jiang Street; 886-2-2351-1002). Jars of tea leaves sit against a wall in the quiet dining room, and guests can brew their tea in traditional pots. Try Oriental Beauty, an oolong tea with a naturally sweet taste that was supposedly given its English-language name by the Queen of England after she had a sip. Prices vary, but a pot can cost less than 300 Taiwan dollars.

3 p.m.
8) PLACATING THE SPIRITS

To get answers to weighty life questions, or just to observe traditional Taiwanese religious practices, head to Longshan Temple, on Guangzhou Street in the venerable Wanhua neighborhood of western Taipei. Built in 1738, its main altar houses a statue of Guanyin, the goddess of compassion, but many other gods — some red-faced, others long-bearded — also have their own shrines and worshipers. In the courtyard, Taiwanese burn incense and cast red, crescent-shaped pieces of wood to divine their fortunes.

5 p.m.
9) CINEMA OBSCURA

If your energy is flagging about now, sit down for coffee at the Spot, the favorite art-house cinema of many a Taipei resident (18 Zhongshan North Road, Section 2; 886-2-2511-7786). The white villa that houses the screening rooms, restaurant and bar was once the official residence of the American ambassador. It is one of the most atmospheric buildings in Taipei, redolent of colonial life in the tropics, with lush grounds that shield the villa from the street.

7 p.m.
10) ALL WRAPPED Up

There’s no avoiding Din Tai Fung, a mandatory stop on Taiwan’s restaurant scene (194 Xinyi Road, Section 2; 886-2-2321-8928). This crowded, brightly lit restaurant, with chefs rolling and stuffing dumplings in the front, specializes in xiao long bao, steamed soup dumplings. These are usually associated with Shanghainese cuisine, but the dumplings here are famous for skin that is much more delicate than those of their Shanghainese counterparts. Try the ones with pork, pork and crab meat or purely vegetables. Save room for taro dumplings as a first dessert. A full meal might cost 300 Taiwan dollars a person.

9 p.m.
11) SHAVED ICE

Head around the corner to Yongkang Street, a celebrated eating avenue, for your second dessert: a mound of shaved ice topped with fresh mango, strawberry or kiwi at Ice Monster (15 Yongkang Street). Then stroll along the Street, lined with traditional noodle shops, Japanese restaurants and sweet tofu dessert parlors.

10 p.m.
12) SMALL EATS

Taipei is as modern a city as any in Asia, but traditional night markets thrive in many neighborhoods. The biggest ones resemble beachside boardwalks, with cheek-by-jowl crowds, fun-fair games, knickknack stores selling everything from chopsticks to DVD’s and, of course, every kind of Taiwanese snack food. The liveliest markets are Raohe, by Ciyou Temple in the Songshan neighborhood; Shida, between the Guting and Taipower Building MRT stations; and Shilin, at the Jiantan MRT station.

Sunday

9 a.m.
13) INTO THE CLOUDS

Your last day? Take a bus or taxi over to Yangmingshan, the gently sloping dormant volcano that sits in a national park on Taipei’s northern edge. The rangers at the main visitor’s center can give you advice on the dozens of trails. If the weather is clear, consider walking up to Mount Cising, which at 3,674 feet is the highest summit in the greater Taipei basin. The wind-swept high meadows are covered in waves of silvergrass, and the views could well inspire you to start planning your return trip to Taipei.

The Basics

In mid-February, a quick Internet search showed that the cheapest round-trip flights from New York to Taipei for travel in early March cost $800 on Northwest Airlines (two stops) and $930 on United Airlines (one stop). You’ll pay about 1,200 Taiwan dollars ($31.80 at 31.75 Taiwan dollars to the U.S. dollar) to take a taxi from the international airport in Taipei to the city center. A shuttle bus to the main railway station, in the city center and a convenient place for subway connections, costs 120 Taiwan dollars.

Les Suites Taipei is an intimate boutique hotel that has two locations in the city (12 Ching Cheng Street; 886-2-8712-7688; and 135 Da An Road, Section 1; 886-2-8773-3799; www.suitetpe.com). Late last month, the weekend on-line rate for a double at the Da An location started at about $140 a night.

The Grand Hotel, at least architecturally, lives up to its name (1 Zhongshan North Road, Section 4; 886-2-2886-8888; www.grand-hotel.org). Built in Qing Dynasty style, it has been a centerpiece of Taipei’s luxury hotel scene for years, though the location north of the city center is somewhat inconvenient. Late last month, the weekend rate for a double started at 3,990 Taiwan dollars per night.

@Source: http://travel.nytimes.com/2008/03/02/travel/02hours.html

Exhibition@Cai Guo-Qiang: I Want to Believe in The Guggenheim Museum

"Borrowing Your Enemy's Arrows" (1998)

The Guggenheim Museum’s retrospective of the work of the Chinese artist Cai Guo-Qiang is nothing if not action packed, writes Roberta Smith. The galleries are so rife with the sound of explosions and the sight of suspended objects and wildlife (stuffed) that it might almost be a movie set for some new martial-arts spy thriller. Perhaps “The Air-Bourne Aesthetic: Writhing Tigers, Hurtling Wolves.”

Organized by Thomas Krens, director of the Guggenheim Foundation, and Alexandra Munroe, the museum’s senior curator of Asian art, this exhibition nearly fills the museum and introduces a conceptually inclined impresario best known for works using gunpowder. Regularly hailed as a global artist and chosen to oversee the opening and closing ceremonies at the 2008 Olympics in Beijing, Mr. Cai has parlayed a United Nations’ worth of cultural sources and artistic strategies into crowd-pleasing, easily deciphered if not terribly original art.

Photo: Librado Romero/The New York Times


Detail of "The Age of Not Believing in God" (1999)

As shown here his work breaks down into three very different categories — installation art, gunpowder land art pieces (documented on video) and enormous gunpowder drawings — with markedly varied success. The installation pieces are the most spectacular, albeit the emptiest and most generic. They speak the familiar Esperanto of installation art that, subject to various cultural adjustments, has thrived at international biennials. Their hollowness makes a certain sense, given that Mr. Cai studied stage design.

The constants are suspended motion, sudden change, violence and, at times, transformation. Even the show’s title, “Cai Guo-Qiang: I Want to Believe,” suggests yearning for a different state, and whether this desire concerns art, religion, magic or U.F.O.’s is itself left up in the air.

Photo: Librado Romero/The New York Times


"Inopportune: Stage One" (2004)

The displays lead off with seven white sedans suspended as if they were back-flipping upward into the museum’s seven-story-high rotunda while spewing gorgeous sprays of neon sparks — an ambiguous comment on car bombings or Nascar racing.

Photo: Librado Romero/The New York Times


Detail of "Inopportune: Stage One" (2004)

On the first ramp nine imitation (if quite real-looking) stuffed tigers pincushioned with scores of arrows writhe in the air in furious death throes, a violent clash between nature and man that conjures royal hunts, extinct species and excessive force.

Photo: Librado Romero/The New York Times


Gianna Bambi of Florence, Italy, takes a boat ride.

“An Arbitrary History: River,” a considerably less trompe l’oeil installation work, involves attractively rough-hewn pieces, including a woven-basket canal filled with water and dried animal-hide rafts for paddling in it. But the ensemble effect is, again, familiar; it suggests a 1980s Neo-Expressionist painting in three dimensions.

Photo: Librado Romero/The New York Times


Installation view of "Cry Dragon/Cry Wolf - The Ark of Genghis Khan" (1996)

Since Mr. Cai emerged in the late 1980s and early ’90s, his work has often been seen as pure and above the market. It is lauded for its emphasis on collective activity and its expansion of the principles of appropriation, and in fact its populist thrust and often ephemeral nature can make it a welcome antidote to the world of saleable art objects, commercial galleries and auctions. But Mr. Cai’s work is also quite expensive to realize. And his prominence is the product of a system that rivals the market in size and power: that of biennial exhibitions, public commissions and international organizations. Both systems, commercial and institutional, are driven by spectacle, whether the spectacle of high prices or the spectacle of large scale or feats of installation.

Photo: Librado Romero/The New York Times


"Reflection - A Gift From Iwaki"

Take for example the rare moment of stasis at the show’s conclusion: a large, salt-bitten hull of a Japanese fishing boat, resurrected from the sea and now marooned on a bed of shattered white porcelain statues. Mr. Cai has shown it twice before, and each time it is assembled and disassembled by the crew of Japanese workers and fishermen who originally recovered it. This is what might be called extreme appropriation art; the hull is hauntingly beautiful, not primarily as art but as an archaeological specimen and feat of engineering, both in its construction and its placement in a museum.

Photo: Librado Romero/The New York Times


"Fetus Movement II: Project for Extraterrestrials No. 9" (1991)

Mr. Cai’s work is most convincing when gunpowder is involved, particularly with the enormous gunpowder drawings and screens, whose fuzzed and charred images result from exploding gunpowder and fuses on paper.

Photo: Librado Romero/The New York Times


Videos show Mr. Cai making these works aided by assistants who spring forward to extinguish the flames after the explosions. The motifs they save can be feathery depictions of pine needles and branches that evoke traditional Chinese and Japanese brush painting — although when Mr. Cai adds an eagle to this motif, his installation-art hokiness returns. Other images include mountainous or lunar landscapes, Minimalist pyramids and, most impressively, a giant mandala with a Buddha-like silhouette at its center titled “Fetus Movement II: Project for Extraterrestrials, No. 9,” from 1991. The subtitles, shared with land-art gunpowder pieces for which the drawings are often studies, intimate an audience beyond not only the art world, but also the planet.

Mr. Cai always thinks big. But here, when he is more hands-on, the impresario becomes an artist.

Photo: Librado Romero/The New York Times

@Source: http://www.nytimes.com/slideshow/2008/02/22/arts/22cai-slideshow_index.html

Fashion@品味男裝》Hermes 印度傳說般的香料色調

愛馬仕以印度為主題推出系列印度印染的絲襯衫配搭絲巾,呈現多元色彩的協調感。
圖/業者提供

「藝術感而略帶女性細膩」的法式色彩語言,當然要從Hermes說起。

呼應「印度」年度主題的愛馬仕男裝 ,素色、條紋、格子和印花交錯運用的織物,配上如黏土、胡椒、洋茴香和亮眼橘色等搶眼的「香料」色調,Hermes愛馬仕08春夏大膽運用織品和色彩的對比和協調感,瀰漫著一片異國風情的華麗氛圍中,彷彿看見神祕而古老的印度。

短版或絲料襯裡的連帽運動拉鍊夾克,配上V領、U領、立領、無領或前開襟釦的突尼西亞式襯衫,重點在強調腰身和濃郁印花;下半身則清一色淡色系簡單直筒長褲,這種拆組上、下半身「對比」色的手法,正好因應了「不搞怪,但卻風格特立」Hermes愛馬仕品味特色。

@2008/03/10 聯合報 ╱記者袁青 http://udn.com/

Fashion@品味男裝》Paul Smith 埋伏幽默的奶油色復古

Paul Smith條紋上的色彩搭配,可作為男士配色學上的基本色盤參考。
圖/業者提供

充滿英倫色彩的頑童Paul Smith,今年春夏一方面以「奶油色」為主要的色調,彰顯復古調性;但仔細察覺,他的幽默本色卻悄悄地藏在翻領的部分,搭配粉紅色、藍色的絲質滾邊裝 飾,即使是色調柔和的襯衫,也刻意配上大膽的針織領帶,形成視覺衝突。配上明亮絲質滾邊為裝飾的條紋外套、顏色鮮艷的運動夾克,則帶出濃厚的英倫設計風 格。

@2008/03/10 聯合報 ╱記者袁青 http://udn.com/

Design@環保時尚題材走紅 紐約倫敦掀熱潮

比利時家飾設計師Domingos Totora以廢紙製成家飾。
The One提供

法國家具Bleu Nature漂流木長凳,售價85,000元。
清庭提供

環保時尚 (Eco-Fashion),近來在時尚圈內迅速走紅。不過回收垃圾製成的環保商品,並不代表就是「便宜貨」,相反的,反倒比全新的商品還要昂貴,一般消費者若沒有環保意識,很難對這類價不廉的環保商品感興趣。

時尚圈內已有不少設計師嘗試以環保素材設計服裝,尤其是紐約與倫敦設計師最為熱中。如德拉倫塔 (Oscar de la Renta)曾以玉米糖製作晚禮服、雙人組設計師品牌Proenza Schouler也曾發表過回收垃圾製成的環保禮服,但訂價都非常昂貴,且因無法量產,全世界只有一件。

在紐約被譽為「環保服裝設計師」的Linda Loudermilk,作品深受珍芳達等倡議環保的女星喜愛。她曾以「環保奢華」(Eco-Luxury) 來形容她以海草設計的環保禮服,一來海草布料仍處於研發階段,製作成本高,二來減少消費、減少浪費,才能真正落實環保,「非普及化」的訂價,正是要讓消費 者減少購物的欲望。

近來平價服飾如Levi's 牛仔褲、H&M也推出有機棉服裝等,但完全不使用化學農藥和肥料的有機棉產量少、成本高,訂價比一般服飾貴2成以上,且有機棉服裝的色澤泛黃、摸起來不平順,並不美觀。

除了天然有機棉,新研發的環保布材還有以回收汽水瓶製成的EcoSpun、以木漿製成的Lenpur、以豆漿製成的Soya和利用竹子製成的Sasawashi等。

環保熱潮也向居家業界延燒,近日「The One」引進比利時設計師Domingos Totora以廢棄紙製成花瓶、托盤等家飾作品,以純手工保留舊紙的色澤,呈現古老質樸的調性,每只單品的訂價逾萬元。

清庭引進法國家具Bleu Nature的漂流木家具,平均單價都在5 萬元以上,有不少國內室內設計師偏愛以廢鐵軌的枕木、海邊撿來的漂流木製成家具,未經上漆、洗色、刨光的處理,刻意保留廢木材的原貌,已蔚為「環保家具」的主流。

@2008/03/11 聯合報 ╱記者陶福媛 http://udn.com/

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