レム・コールハースと書籍『S, M, L, XL』を制作したことでも知られるデザイナー ブルース・マウのインタビュー動画です。制作はルイジアナ美術館。
Meet the influential Canadian “design guru”, Bruce Mau, in this short video. Mau, who is the author of quintessential publications on architecture and design, shares his thoughts on how we can bring the book into the technological environment without losing its beauty and richness.
“I think it’s such a brilliant technology that if it didn’t exist today – if somehow we got to the present through technology and computers before the book – we would have to invent the book,” Maus says of the discussion surrounding the alleged ‘death of the book’. The book, he continues, is such a brilliant technology, that no computer can match: “It never crashes, it sequences narrative, which is one of the most important things we need to do to understand the world.” Mau shares how he is working on a technology platform for books because he realized that “when we moved the book from the physical book to the digital book, we left behind the beauty of the book. We left behind the culture of the book and the experience of the book. We just took the text.” The true experience of the book, he feels, should be better incorporated into the technological environment, while adding the capacity and reach that technology offers.
Bruce Mau (b. 1959) is a Canadian designer. Mau began as a graphic designer but has later extended his creative talent to the world of architecture, art, films, conceptual philosophy and eco-environmental design. From 1985-2010, Mau was the creative director of Bruce Mau Design (BMD), and in 2003 he founded the Institute Without Boundaries in collaboration with the School of Design. In 2010, he went on to co-found The Massive Change Network in Chicago. Mau is the recipient of prestigious awards including the Chrysler Award for Design Innovation in 1998, the American Institute of Graphic Arts Gold Medal in 2007, the Philadelphia Museum of Art’s Collab Design Excellence Award in 2015, and the Cooper Hewitt 2016 National Design Award for Design Mind – for his impact on design theory, design practice and public awareness. In 1998, Mau designed a widely circulated 43 point manifest called ‘The Incomplete Manifesto for Growth’, which assists its users in forming and assessing their design process. Mau is also the author of iconic books such as ‘S, M, L, XL’ (1995) with Rem Koolhaas: an architecture compendium that quickly became a requisite addition to the shelves of creatives. In June 2020, he will publish ‘MC24’, which features essays, observations, project documentation, and design work by Mau and other high-profile architects, designers, artists, scientists, environmentalists, and thinkers of our time.
OMAのレム・コールハースとAMOディレクターのサミール・バンタル（Samir Bantal）らによる、2020年2月にグッゲンハイム美術館で始まる”田舎”をテーマにした建築展「Countryside, The Future」の予告動画が公開されています。会期は2020年2月20日～8月14日。展覧会の公式サイトはこちら。
Countryside, The Future, is an exhibition addressing urgent environmental, political, and socioeconomic issues through the lens of architect and urbanist Rem Koolhaas and Samir Bantal, Director of AMO, the think tank of the Office for Metropolitan Architecture (OMA). A unique exhibition for the Guggenheim Museum, Countryside, The Future will explore radical changes in the rural, remote, and wild territories collectively identified here as “countryside,” or the 98% of the earth’s surface not occupied by cities, with a full rotunda installation premised on original research. The project presents investigations by AMO, Koolhaas, with students at the Harvard Graduate School of Design; the Central Academy of Fine Arts, Beijing; Wageningen University, Netherlands; and the University of Nairobi. The exhibition will examine the modern conception of leisure, large scale planning by political forces, climate change, migration, human- and non-human ecosystems, market driven preservation, artificial and organic coexistence and other forms of radical experimentation that are altering the landscapes across the world.
石上純也への、ルイジアナ美術館によるインタビュー動画「Creating Nature with Time」が公開されています。日本語で聞けるインタビューです。
“If things created by humans should function next to natural things, the passing of time is necessary. Only the passage of time will bring forward the kind of landscape I want to create,” says the renowned Japanese architect Junya Ishigami. Learn about his award-winning project, the poetic landscape ‘Water Garden’, in this short video.
When a hotel owner hired Ishigami to create a new garden and an addition to his hotel, the premise was that the addition should be built in a forest, and the garden in an area with meadows alongside. Because they were only allowed to build in the woods – meaning having to cut down almost all of the trees – Ishigami decided “to move all the trees from the forest and create a new forest.” Each tree was carefully relocated, uprooted and replanted over four years. They also relocated the moss that was already there, used the existing stones to make stepping stones, and integrated the water in the area: “We used everything that was already there and changed the layout to create a new artificial environment that was as close as possible to something natural,” Ishigami says. In continuation of this, 50 years earlier, the location had been rice paddies, and so Ishigami wanted to combine the rice paddy landscape with the forest landscape. Ishigami explains how it wasn’t about creating something from nothing, but rather about using the already existing environment and “letting the passage of time create a new garden. So, the concept was that the garden would take a long time to mature.”
