不過東京總算"吊到世界潮流"之車尾
應該注意下面我從MOCA複製的圖中
日本作者的比例
| Skin + Bones: Parallel Practices in Fashion and Architecture Shigeru Ban |
| Curtain Wall House |
| 1995 |
| Shigeru Ban Architects, Itabashi, Tokyo, Japan |
| Photo © Hiroyuki Hirai |
| Skin + Bones: Parallel Practices in Fashion and Architecture Testa & Weiser |
| Carbon Beach House |
| 2006 |
| Courtesy of Testa & Weiser © Testa & Weiser |
| Skin + Bones: Parallel Practices in Fashion and Architecture Yoshiki Hishinuma |
| Inside Out 2way dress |
| Spring 2004 |
| Polyester |
| Courtesy of Yoshiki Hishinuma |
| Photo © Guy Marineau |
| Skin + Bones: Parallel Practices in Fashion and Architecture Herzog & de Meuron |
| Prada Aoyama Tokyo |
| Project 2000-01, realization 2001-2003 |
| Each (6 study models): @ 12 x 12 in. Section model: @ 14 x 12 x 12 in. |
| Courtesy of Herzog & de Meuron |
| Photo © 2003 Todd Eberle |
| Skin + Bones: Parallel Practices in Fashion and Architecture Hussein Chalayan |
| Tulle Dress # 2 (from Before Minus Now collection) |
| Spring/Summer 2000 |
| Photo © Chris Moore |
In Sight: Fashion, architecture tie up in show of astounding work
07/20/2007
Ever since the "Art of the Motorcycle" exhibition roared into the Guggenheim in New York in the summer of 1998, curators worldwide have been increasingly keen on exploring nontraditional themes. Last November, the Museum of Contemporary Art, Los Angeles opened "Skin+Bones: Parallel Practices in Fashion and Architecture," a show six years in the making. The original exhibition closed in March and opened last month at the National Art Center, Tokyo.
While the idea of linking clothing and shelter is hardly revolutionary--as the show's title suggests, primitive people wrapped their bodies in skins and built dwellings with bones--new technologies and materials have created exciting new parallels and overlapping relationships between fashion and architecture. The 230 works in this exhibition illuminate this nexus.
It is an ambitious endeavor that hits the target more than a few times. The focus here, and this is a treatment done for the National Art Center incarnation, is on Japanese designers and architects. This is effective, as Japanese were instrumental in developing a number of new technologies in both fields, such as custom high-tech textiles and laser cutting.
The exhibition is divided into four main categories. "Fundamental Parallels" looks at shelter and identity and includes extensive documentation on Shigeru Ban's "Curtain Wall House," a residence constructed in Tokyo's Itabashi in 1995. This both minimalist and frivolous project by Ban perhaps best represents the theme of the exhibition. The two-story structure had a pair of retractable white fabric sections--which resembled supersized shower curtains--acting as the "walls" facing the street.
Another standout piece in the first section is a dual purpose wooden coffee table/conical skirt from Cyprus-born fashion designer Hussein Chalayan's "Afterwords" collection (fall-winter 2000). Like the Ban house, it is a delight to look at but almost totally impractical for everyday use.
"Creating Form," the second section, examines experimentations with line, geometry and volume in avant-garde fashion and architecture; while "Techniques of Construction" delves more deeply into the manipulation of materials and surfaces, such as draping, pleating, printing and suspension, as well as providing a behind-the-scenes peek at the way these elements are put together.
"Synthesis," the final section, deals with new and developing materials and technologies and how they might further contribute to the coalescence of fashion design and architecture.
Not surprisingly, the exhibition also features plenty of large-screen videos of models strutting down catwalks, as well as mannequins adorned with illustrative clothing designs.
I found it curious that the curators dispensed with the lights and foils employed by shops on the Ginza or along Fifth Avenue. Here, the mannequins, chalk white and androgynous, are arranged atop austere plinths. Eliminating the window dressing seems a conscious effort to present the pieces in a "museum" context, but it sometimes results in the clothing looking disconnected and out of place.
A problem also occurs with the architectural models on display. Many were selected for inclusion because they represent a structure built using materials of interest to the exhibition--but architectural models themselves are generally not constructed in the same materials used in the finished product. Frequently, photographs serve to illustrate the buildings. The Santa Caterina Market in Barcelona, covered with an undulating honeycombed fabric roof that throws a riot of vibrant colors and patterns over a large portion of the neighborhood, is one of the most effective examples.
In some instances, samples of the materials are also on display, but otherwise the models here are made of plastic or wood; this hinders their ability to represent the point curators are trying to make.
Overall, however, the organizers have done a good job of dealing with the challenges involved in the exhibition. One can definitely trace parallels emerging in the forms and textures of cutting-edge work in the two increasingly connected fields of architecture and fashion. There is a tremendous amount of astounding work represented in this exhibition, which will be of special interests to students.
In 1916, the German dadaist Hugo Ball dressed in a set of cardboard tubes for a performance of his "Karawane" sound poem at the Cabaret Voltaire in Zurich. "I looked like an obelisk," he remarked.
Today, the simple cardboard tubes have been replaced by computer-designed contoured garments in recently concocted materials, and the contemporary obelisk-as-urban-landmark is more likely to assume an undulating, biomorphic form. But creativity and cross-pollination remain at the avant-garde in fashion and architecture--this exhibition provides an excellent testimony to that.
* * *
"Skin+Bones: Parallel Practices in Fashion and Architecture" is on display through Aug. 13 at the National Art Center, Tokyo.(IHT/Asahi: July 20,2007)
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