Kawanabe Kyōsai’s works are full of social satire. But that’s not what I want to focus on. Kawanabe Kyōsai’s works depict demons. The deliberately gray lighting in the exhibition hall makes this even more eerie. The black walls are vaguely mixed with the feeling of white, making people feel like they are in the middle of an ink painting.
There is an interesting phenomenon in Kawanabe Kyōsai’s work. The paper on which he paints is also a part of his artistic creation. In Crow on a branch and Crow on a branch at night, the colors of the paper are replaced to achieve a different feeling of day and night. In Kawanabe Kyōsai, the specially selected silk is used as the paper to add an eerie touch to the slim woman herself.
Crow on a branch at night Crow on a branchKawanabe Kyōsai draftKawanabe Kyōsai,
This method of varying the material to achieve different effects made me think of the use of plywood. By using new materials, the otherwise hard and complex wooden furniture appears soft and simple.
Tatsuo Miyajima’s work exhibits his understanding of life, and this is how I understand it. Buddhism is reflected in his choice of figures in his works. Each number is determined by the dice on the ground as it happens, and this is the Buddhist word for karma.
9-1
Among the exhibits on the second floor. The numbers on the face wall keep jumping, from 9-1. But no 0’s appear, just the monitor going off. It is also a manifestation of death. Disappearing. The numbers in different positions, beating at different rates, may indicate that the time is different for each person.
The entire exhibition hall starts with the figures on the walls on the first floor to give an initial idea of his work. Then, on the second floor, we go deeper. This sequence makes it easier to understand the meaning of his works.
At the end, this representation of the artist with figures and disappearances tells a sad story in a way that is not sad.
“THE SOUL OF THE SOULLESS CITY” is an abstract painting of New York painted by C.R.W. NEVINSON in 1920. The railroad crosses the city and reaches into the sky along with the buildings. Square-shaped buildings rise from the ground to obscure the sky. The hardness of metal and concrete fills the picture. It is interesting to note that the painting was titled “NEW YORK – AN ABSTRACTION” when it was first exhibited in New York in 1920. But the name was changed to the present one when it was exhibited in London in 1925.
The rapid growth of the city and the railroad that runs through it in this painting represent a fervent love of elements such as speed and technology. The trains and industrialized towns symbolize man’s conquest of nature through technological advancement. This is exactly what futurism is looking for.
Man and beast is the work of writer Francis Bacon mixed with his own life experiences. Through the study of the habits of the same object, it is
combined with the behavior of human like.Because of his experience as an interior designer, his works are filled with depictions of space.
Head I (1948) Oil and tempera
Head I, an interior scene is depicted through a corner of the ceiling and a white balustrade in the background. The only recognizable ear in the painting seems to represent that it depicts a person. The sharp teeth and blurred face make it impossible to tell whether it is a human or an animal. The corner of the ceiling, and the dimly lit interior give a sense of edge.
This work is displayed separately at the beginning of the gallery. In this way, the visitor can feel the style of the author’s work from the moment he enters the room.
The entire exhibition hall unfolds in a linear fashion, with the space moving from small to large, and the lighting in the exhibition hall becoming brighter and brighter, with the works displayed in a sequence from abstraction to near reality and back again. From personal experiences to descriptions of society.
Bacon all felt that he could come closer to understanding the true nature of human beings by observing the unrestrained behavior of animals. Both animals and humans are similar in their nature.
The building has a peculiar silhouette with a row of tall chimneys. Investigation revealed that its purpose was to recall the Gothic design of the Victorian Palace of Westminster and to echo the chimney of the Norman Shaw Building next door. The chimney itself functions as part of a powerless air conditioning system, enhancing air circulation within the building.
The exhibition begins with a reminder that we are not here by accident. Human wastefulness is not innate. Discarding culture is an inevitable step in the evolution of our society; it is a lifestyle choice. a 1960s advertisement touts the wonders of the new polystyrene cup.” New and very new! You just must enjoy the party “cup” …… Then throw it away.” It hangs next to a plastic tote from the 1980s with its advantages over paper printed on it. Little did we know that forty years later, the world would be consuming more than a million plastic bags per minute.
The generation of waste has long been a major driver of the economy. The example of the light bulb is a perfect representation of this. By the 1920s, light bulbs were already so long-lived that their replacement was so reduced that they were considered commercially unviable. So it was that General Electric, Philips and others formed the Phoebus cartel in 1924 to standardize the life expectancy of light bulbs to 1,000 hours – down from the previous 2,500 hours. Thus, the culture of planned obsolescence was born.
In one section of the exhibition, it was introduced that 7% of the world’s gold is now found in electronic products. What’s more, one ton of mined gold can produce 3 grams of gold, while recycling one ton of cell phones can produce 300 grams. Thus, landfills and garbage dumps are the new resource-rich mines.
Materials used in a car
The last part of the exhibition shows the possibility of reusing scrap, recycling plastics before processing them into 3D printed materials. Some of the products in the exhibition even go beyond the end-of-life step. From water-soluble electronic circuit boards made from natural fibers to “sea stone,” a concrete-like material made from crushed shells. The use of various organic materials is not wasteful and can be completely absorbed by nature.
The biggest impact of this exhibition is the awareness of green materials, these are not environmental in the traditional sense, but the use of new materials. From the recycling of garbage to the fact that the objects themselves will no longer be part of the garbage.
The founder of the experimental Southern California Institute of Architecture, and the natural heir to Frank Lloyd Wright, Richard Neutra and R M Schindler, Kappe began his career in the 1950s by bringing together Neutra’s use of space with the more natural modernism of Harwell Hamilton Harris, to which he added some of Lloyd Wright’s love of landscapes.
The large windows open the house up to natural light and make the trees outside part of the living experience.
The Kappe House (1967) in Pacific Palisades. Built on a slope around six concrete towers. In 1990, Kappe design using a high concrete retaining wall to create two distinct but cleverly connected spaces. One, with 20ft-high ceilings and glass walls, houses the downstairs living and dining areas. The other, on top of the hill, contains two bedroom suites, a library and separate office for Benton’s patients. Downstairs is all drama and space; upstairs, the delight is in the detail. Both spaces are under the same roof, which is split by a linear skylight.
‘Things are what they are in this house. Form follows function. There is no artifice and the structural elements are exposed. The concrete is rough, and it declares itself as concrete.’ – Dr Esther Benton. Climate and the light in LA, need to be bringing in the house. That explains the glass, but also the little details, like the grid of concrete tiles that is maintained inside and out; they’re the same material, just polished and sealed on the inside. The worktop slab in the kitchen was the same pour as the patio outside the kitchen window, so it flows straight into the house.
The structure was made apparent by the abundant use of glass which had minimal framing. Layering his residence horizontally in almost geological terms creates a form of stratification in which he expressed various levels of the home’s activities independently of others above or below. The family’s music room was the headquarters for his son’s activities. Dividing the space within the building through layers rather than walls has greatly changed my perception of how space is divided. It maximizes the space visually within the existing space without compromising the use of the space. It achieves functionality and design at the same time.
