Emmanuelle Moureaux’s ‘Slices of Time’ exhibition at Now Gallery

Posted on February 10, 2020 by Toothpicker

I have been a fan of Tokyo-based French architect Emmanuelle Moureaux and her colour-driven architecture for some time. Since 1996, she has been living in Tokyo where she established Emmanuelle Moureaux architecture + design in 2003. I have never actually seen Moureaux‘s architecture and installations in real life, so I was really looking forward to seeing her first art/design exhibition “Slices of time” in London.

Moureaux invented the concept of shikiri, which literally means ‘dividing (creating) space with colours’. She uses colours as three-dimensional elements, like layers, in order to create spaces, and her work ranges from art, design to architecture.

Inspired by the location of the gallery, near the Greenwich Meridian, “Slices of Time” expresses the past, the now and the future through 168,000 numbers cut out from paper. The cut-outs are hung in the gallery space, as a representation of the round earth floating. 100 layers of numbers in 100 shades of colours visualise the next 100 years to come (2020 to 2119), while 20 layers of numbers in white represent the past 20 years (2000 to 2019).

On the preview night, I headed to NOW Gallery on the Greenwich Peninsula, and a long queue had already formed outside of the gallery. At the door, we were assigned a timeslot and when it was our turn, we had to queue (again) outside of the exhibition area. We were allowed to walk around the installations for a short period before being hurried out to let the next group in.

It was wonderful to see the striking installations from above and up close. I am also glad that the architect has chosen paper as her medium – the installation truly reveals the beauty and power of paper. I only wish that I was given more time to linger, but since I was going to be away for several months, this was the only opportunity for me to see the exhibition before leaving. And for those who don’t live in London, there are currently two other exhibitions being held in Taipei (“Forest of Numbers” ) and New York (“100 colors”) where visitors can be stimulated by vast array of colours.

London design festival & Kengo Kuma at the V & A museum

Posted on September 24, 2019 by Toothpicker

Over the past few years, I have been quite disappointed with design industry’s ‘slow response’ in tackling the sustainability issues, and felt the same way when I visited trade shows and exhibitions at the London design festival. Finally, things have changed this year. Sustainability and handmade crafts became the main focus of this year’s festival, and it was conspicuous at the V & A museum, the official hub of the festival.

At the entrance of the festival, visitors had to walk under a massive cube suspended from the ceiling. The ‘Sea Things’ installation, created by Sam Jacob studio, addressed the ocean plastic waste issue that we face today. An animated motion graphic created by Rory Cahill was projected within the cube, which showed the growing numbers of plastic waste alongside with sea creatures. It reflected an infinity that seemec both as wide as the ocean and as large as the challenges we face.

Sea things by Sam Jacob studio

At the John Madejski Garden, Japanese architect Kengo Kuma worked with Ejiri Structural Engineers and the Kengo Kuma Laboratory at The University of Tokyo, to create a nest or cocoon by weaving rings of bamboo and carbon fibre together. The 2m-diameter ring was made from strips of the bamboo Phyllostachys edulis, and was combined with carbon fibre to achieve a certain rigidity while maintaining the unique material properties and beauty of bamboo. The installation was intended to be a catalyst for weaving people and place together.

Bamboo ring by Kengo Kuma

At the Global Design Forum, Kengo Kuma was invited to give a talk on material explorations. Kengo, who recently designed the £80m V&A Dundee, his first building in the UK, as well as the New National Stadium for the Tokyo 2020 Olympics, revealed that nature has always been his main source of inspiration. Located on the edge of the River Tay, the V&A Dundee was inspired by the eastern cliff edges of Scotland, and it is partly built on the water to emphasis the connection with nature.

It was interesting to hear him talk about his past projects and the materials he used for them. The world will certainly be focusing on him next year when the Tokyo 2020 Olympics opens. After so much controversy over his timber stadium, I wonder if it will prove the critics wrong.

Kengo Kuma at the Global Design forum

Non-Pavilion by Studio MICAT, There Project and Proud Studio. The Non-Pavilion is a digital pavilion and it used AR technology to invite visitors to engage with the idea of ‘less’ as enrichment rather than loss.

The demolition of Robin Hood Gardens –the Brutalist housing estate in Poplar, East London, completed in 1972 by British architects Alison and Peter Smithson– was recorded by London-based Korean artist Do Ho Suh in 2017. His panoramic film used time-lapse photography, drone footage, 3D-scanning and photogrammetry to create a fascinating visual journey.

Rony Plesl’s unique glass installation draws inspiration from fire and wood – key components of glass making – and from the idea of Sacred Geometry, a universal language organising all visible and invisible reality according to basic geometrical principles.

Supported by Sony Design, Affinity in Autonomy is an A.I. installation featuring a pendulus moving in random directions inside a round cage. However, human presence would be detected and the pendulus would respond to visitors’ physical movements outside of the cage.

One of my favourite exhibits at the V & A was the Black Masking Culture inside the Tapestries Gallery – the huge Mardi Gras Indian suits are composed of intricately hand-sewn beadwork created by New Orleans artist, Demond Melancon. The beaded suits illustrate actual and imagined events of the indigenous people in America and enslaved Africans, with imagery rich with symbolism and meaning. The suits blended surprisingly well with the tapastries in the background despite being made centuries apart.

Black Masking Culture

Blanc de Chine, a Continuous Conversation (ongoing until 2020) showcases historic pieces from the V&A’s Asian and European ceramics collections, as well as a selection of new works by contemporary makers including: Babs Haenen, Lucille Lewin, Liang Wanying, Jeffry Mitchell, Su Xianzhong, and Peter Ting. Retelling the story of porcelain-making in Dehua, the display builds a bridge between the past and the current, tradition and innovation, and breaking the boundary of Chinese and non-Chinese ceramic practices.

Sea things by Sam Jacob studio showcased eight historic water vessels remade in new sustainable materials such as recycled plastic, sea shells and bioresin etc.

Repair-Making and the Museum – V & A resident maker Bridget Harvey examined repaired and broken objects in the collections, and conservation practices.

Bamboo Futures – Bali-based designer Elora Hardy and her team at IBUKU construct sustainable bamboo buildings across the world, with every IBUKU building being devised using a bamboo model. This installation of miniature buildings demonstrates how IBUKU’s model-making is both integral to their creative process and an invaluable tool throughout construction.

Leaders of London’s cultural institutions were invited to collaborate with some of the world’s most prolific designers to create a ‘Legacy’ piece of design – an object of personal or professional relevance to them. The 10 pieces were beautifully crafted in American red oak, a sustainable hardwood species that grows abundantly in American forests, and were fabricated at Benchmark Furniture in Berkshire.

Top left: Kwame Kwei-Arwah, Artistic Director of Young Vic, with Tomoko Azumi; Top right: Hans Ulrich-Obrist, Artistic Director of Serpentine Galleries, with Studiomama; 2nd row: Sir Ian Blatchford, Director and Chief Executive of Science Museum Group, with Marlene Huissoud; 3rd row: Dr Maria Balshaw CBE, Director of Tate, with Max Lamb; Last row: Alex Beard, Chief Executive of Royal Opera House, with Terence Woodgate

The Ingenious Mr Leman: Designing Spitalfields Silks (on display until October) showcases James Leman’s silk textiles from the early 18th century.

Staging Places: UK Design for Performance (ongoing until 2020)

Pioneered by the V&A Research Institute (VARI) and Design Thinker in Residence, Ella Britton, this experimental school inside the V&A will collectively create a design curriculum for the 21st century. The School is about exploring what a design education could be. And who it should be for.

Hong Kong heritage: Tai Kwun 2010 vs 2019

Posted on May 25, 2019 by Toothpicker

Since its opening in mid 2018, Tai Kwun (means ‘big station’ in Cantonese) has become the hottest heritage destintation in Hong Kong. Located at the eastern end of Hollywood Road, the 300,000sq ft compound comprises three declared monuments: the former Central Police Station, former Central Magistracy and Victoria Prison. The revitalisation project is the biggest conservation project in Hong Kong –costing HK$3.8 billion– was led by The Hong Kong Jockey Club in partnership with the Hong Kong Government. The aim was to redevelope the site into a world-class heritage and arts centre.

Swiss architects Herzog & de Meuron, who are also responsible for the city’s M+ museum of visual culture (opens in 2020), worked with UK conservation architects Purcell, and local firm Rocco Design Architects to revitalise 16 historic buildings, a prison yard and parade ground dating between 1864 and 1925. Aside from restoring the old buildings, two new buildings – JC Contemporary and JC Cube – were added to house an art centre dedicated to contemporary art, and a 200-seat auditorium, respectively.

After the restoration (2019)

Interestingly, I was lucky to have visited the compound just before the restoration works began in 2011. In 2010, the annual deTour creative festival (which coincides with the Business of design week) took place here, so I was able to explore the site and record the exteriors and interiors before the restorations began.

When you look at the photos, you would notice that no significant structural changes were made to the 16 heritage buildings aside from new paint, the removal of wires and some essential restoration works. It is never easy to restore heritage sites, especially a compound with 16 buildings, and I think this project has to be one of the most sucessful cases in Hong Kong (if you look at the disastrous 1881 Heritage in Kowloon, then you would know what I mean).

The exterior of the site in 2010

Entrance – Before and after

The two new buildings are clad with a façade unit system made from 100% recycled cast aluminum, and the units create a contrast with the historical masonry blocks underneath. The the cast aluminum units have a distinctive roughness and texture, which helps to reduce the reflectivity and glare during the daytime. At night, light emitted from the building would be partially screened by the façade units, but without creating light pollution. The new additions have certainly made the site even more ‘instagrammable’ among visitors.

The new JC contemporary & JC Cube designed by Herzog & de Meuron

Wandering inside the JC contemporary building, I was reminded of the new extension at Tate Modern in London, which was also designed by the same architectural firm. The use of concrete and the design of the spiral staircases are very similar. The catch with employing starchitects is that they like to apply their signature styles onto most of their works; the best example is Norman Foster‘s airports – honestly, the world doesn’t need another cloned Foster-style airport! I do hope that the new M+ museum is not going to be a replica of Tate Modern.

Inside the JC Contemporary building: the spiral staircase

Art exhbitions: 1st & 2nd rows – Wing Po So’s 6-part practice; last row: Wong Ping’s animation

The 177-year rich history of the heritage complex reflects Hong Kong’s ups and downs during the British colonial era. Not only Ho Chi Minh was imprisoned here for 2 years in 1931-33, it was also used as a Japanese army base during the Second World War. Visitors can find out the history of the complex at the heritage storytelling spaces, and free guided tours are available daily.

As always, shopping and restaurants play a major role in a complex like this. Thankfully, the shops and restaurants here are mostly independent and local rather than chains like Starbucks or Pizza Express. A cultural centre needs alternative shops and restaurants to differentiate it from other shopping malls, and Tai Kwun has achieved this.

The heritage storytelling space, the former prison cells and a former court room

Although I think the architects of the project have successfully restored and revitalised the complex, I can’t help feeling that ‘something’ is lost in the process as well. Perhaps this is inevitable due to the scale of this project.

When I look at the photos taken inside the prison in 2010, the place had a slightly eerie and atmospheric feel, whereas now, the prison looks more polished and embellished. It is a shame that many of the fascinating old signage and inmate call system were removed too. Without these details, the prison looks more like a film set, and the authenticity is lost. But then again, as most Hong Kongers would say: “Hong Kong is a city with no memory” (old buildings are constantly being torn down and replaced daily), so when it comes to conservation, this probably is the best that you could ever hope for.

The prison cells before the restorations (2010)

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Kutch textiles: Ajrakh & blockprinting in Ajrakhpur

Posted on April 20, 2019 by Toothpicker

Ajrakhpur – the land of Ajrakh

Before my trip to India, my knowledge on Indian textiles was minimal, yet the textiles workshop at Somaiya Kala Vidya (see my earlier post) completely opened my eyes. I did not realise that block printing is such a complex and time-consuming process, especially when only natural dyes are used. The ajrakh printing techique is an ancient craft with a history of over 4000 years, and it is believed to be originated from Sindh along the Indus River (now Pakistan). Since it uses natural dyes only, the process would require weeks of work which includes multiple times of dyeing and washing. Sadly, the introduction of chemical dyes from the West led to the decline of this ancient craft at the end of the nineteenth century.

In recent years, the revival of ajrakh printing has been credited to a 10th generation master craftsman, Dr. Ismail Mohammed Khatri. Originally from Dhamadka (about 50 km east of Bhuj), a famous ajrakh village where artisans of the Khatri community resided, Dr. Ismail Khatri and many of the artisans had to leave their ancestral homes and relocate to Ajrakhpur, 15 km SE of Bhuj. The reason for this migration was due to the the drying up of the river caused by the earthquake in 2001 (since water is an essential element of this craft).

With the help of the Maiwa Foundation from Canada, and orders from India’s most renowned ethnic collection studio, Fab India, Dr. Ismail Khatri‘s workshop started to thrive after the resettlement. Not only he was awarded an honorary doctorate from De Montfort University in Leicester in 2003, he also won the UNESCO Award Seal of Excellence for handicrafts in 2008 and 2012 for his dedication to this craft. Now he still runs the studio with his two sons, Sufiyan and Juned.

Now the Ajrakh Studio has become a popular destination for foreigners who are interested in ajrakh and Kutch textiles. The new spacious studio, designed by Indigo Architects, opened in 2017 and has a retail shop and a hall where visitors can view a film on the ajrakh craft.

We met Juned and he led us to the printing workshop and explained the process involved in ajrakh printing. The un-dyed fabric is first cut into 9 meter lengths, then washed to remove starches, wax and impurities, followed by dyeing it with myrobalan. A wooden block hand-carved with traditional designs is seleced, coated in lime and Acacia gum (as a resist) and pressed onto the cloth at regular intervals. The artisans continue the process with different blocks and coating them in dyes, aligning them with previous prints, then pressing them onto the fabric. After each colour of print, artisans have to rinse and sun-dry the cloth. This process would be repeated with each layer of colour, hence it is extremely arduous and time-consuming.

Ajrakh is traditionally worn by the pastoral Maldhari (meaning herdsman in English) community. Apart from pagdis and lungis, it is also used as bed covers and wedding costumes etc. Traditionally, the colours and motifs symbolise nature with symmetrical designs. Indigo blue (from the indigo leaves) and crimson red (from alizarin found in the roots of madder) are the two most predominate colours for ajrakh.

Before visiting Ajrakhpur, I told Judy Frater about our itinerary, and she suggested that I pay a visit to the studio of my ajrakh instructor Khalid as he is also located within the village. With limited time, I dashed off from the Ajrakh studio and headed towards Khalid‘s studio (his big signage was useful), which turns out to be only 5 minutes away.

Although Khalid‘s studio is much smaller than the Ajrakh studio, there were still at least 5 employees (including his son) printing and dyeing during my visit. I also met a friendly young textiles student who is working with Khalid on her graduation pieces.

Khalid spent 10 years learning his printing skills from his father, and he only went to study at Somaiya Kala Vidya after his son had done a course there. The course helped him to break away from the traditions and explore new ideas and techniques. Since I learned the basics of ajrakh printing from Khalid at the workshop, I know how talented he is and I wanted to support him somehow. The result was a shopping spree at his studio/shop, where I bought a few scarves and shawls for myself and my family. One of them is a combination of ajrakh print and bandhani (done by his wife), which I particularly like. He also offered to customise the fringes/tassels for me, and the finished scarves were delivered to my hotel by the kind textiles student 2 days later. The prices of his scarves are not only reasonable, they are also unqiue and more contemporary. You can check out his instagram account @ashk_by_khalid to see more of his works.

Khalid Usman Khatri’s studio

After we left Ajrakhpur, we headed to the nearby Living and learning design centre, a textiles and craft museum run by the Shrujan Trust that aims to preserve, revitalise and promote the craft heritage of Kutch. Upon arrival, I was very pleasantly surprised by the beautiful and Mexican/Pueblo Revival style contemporary architecture and lush gardens. Opened in 2016, the complex took about 5 years to build and comprises a museum with three galleries, an auditorium, a library, an outdoor cafe, a shop and three crafts studios for practitioners. Again, the architects behind this project was Indigo architects, whose chief architect Mausami had received her MA in architecture from University of New Mexico, hence both the Ajrakh studio and LLDC have a strong Mexican/Santa Fe influence.

Strangely, the vast complex was very quiet during our visit and we hardly saw any other visitors. If this museum was situated in London or New York, it would be jam-packed with tourists. And I think this museum deserves to be visited by more tourists because of its excellent contents. You really need a few hours to go through the exhibits as they cover all the textiles styles, techniques and fashion from different tribes within Kutch; you can even find out how to tie a turban in different ways. If you want to learn more about Kutch textiles, then this place is a good starting point. Photography is forbidden inside the upper galleries, but it is allowed in the lower gallery where there are paintings and textiles on display.

Japonismes 2018: ‘Tadao Ando: The Challenge’ exhibition at Centre Pompidou

Posted on November 2, 2018 by Toothpicker

In my opinion, French people have always been fascinated by Asian culture and art, much more so than the English. Japonisme and Chinoiserie were extremely popular in Europe during the 18th and 19th centures; and thanks to globalisation, Japonisme is making a comeback. Officially.

To celebrate the 160 years of friendship between Japan and France, the Japonismes 2018 festival was launched to bring Japanese art and culture to Paris from July 2018 to February 2019. One of the major events is a major retrospective of world-renowned Japanese architect Tadao Ando at Centre Pompidou.

36 black and white photographs taken by Ando, 1984

‘Tadao Ando: The Challenge‘ focuses on four main themes – the simplicity of space, the urban challenge, project genesis and dialogue with the past. The exhibition covers Ando‘s fifty major projects over five decades via 180 drawings, 70 original plans and numerous slideshows. As soon as I walked in, I was captivated by the striking black and white photographs taken by Ando of his own architecture. The use of smooth concrete, natural light and simple geometry is highlighted in these photos, and there is no need for captions or descriptions.

The exhibition reminded me of an incident at Toto Gallery Ma in Tokyo ten years ago when my friend and I went there to see Ando’s exhibition. We had no idea that the architect was giving a talk on the day, and was surprised to see him there. However, we were stuck inside for ages due to the crowd – it was quite chaotic by Japanese standard! I didn’t see the architect this time, but at least I got to see the exhibition without leaps of people around me.

Besides his famous works like the Church of Light and Azuma House, there are also models and drawings of his unbuilt work, including his rejected plan for Tate Modern, and Nakanoshima Project II, featuring an egg-shaped shell within Osaka City Hall – which I think is quite ground-breaking.

There is also a model of Ando‘s new project in Paris: Bourse de Commerce – Pinault Collection. With an estimated budget of $170 million, Ando was commissioned by François Pinault, the founder of the luxury group Kering and the investment company Artémis, to renovate the 19th-century former stock exchange and transformed it into a contemporary art venue. Even though there is no shortage of art venues in Paris, it is still exciting to see Ando‘s new work in Paris – can’t wait to see it.

Hiroshi Sugimoto’s masterpiece: The Enoura Observatory in Odawara

Posted on October 22, 2018 by Toothpicker

The cute Nebukawa Station first opened in 1922 but was swept away (along with a train full of passengers) by a landslide a year later. Hundred of people were killed during this disaster, and there is a memorial at the station that commemorates this tragic incident

After I left Atami, I took the train to the nearby Nebukawa Station as I had booked a tour to visit The Enoura Observatory, created by contemporary artist and the founder of Odawara Art Foundation, Hiroshi Sugimoto (who was also responsible for the renovations of the MOA in Atami). All visitors have to book the tour online, which includes a free return mini bus rides between the observatory and the train station.

Since it opened in the autumn of 2017, the observatory has been receiving international coverage and praises for its merge of nature, art, history and architecture, and it was highly recommended to me by a Japanese friend.

Like both places I visited earlier in the day, this site occupies a hilltop position that overlooks the Sagami bay. The site comprises a reception area, a gallery space, two outdoor stages, a revived Tensho-an tea ceremony room, a restored Muromachi Period (c. 1338-1573) Meigetsu Gate, and rock gardens featuring various rocks and stones collected from all over Japan by Sugimoto .

At the long gallery space, visitors can view Sugimoto’s photography work titled seascape. The artist has had a long fascination with the sea, and he explained: “my earliest childhood memory is of the sea seen from the window of the Shonan train, running on the old Tokaido line from Atami to Odawara.” And this memory was the inspiration behind the project.

Drawing ideas from ancient cultures and their relationships with nature, the 100-metre gallery is also a viewing platform where sun ray would reach the gallery space on the morning of the summer solstice.

On the morning of the winter solstice, the optical glass stage would glow as it catches the light on its cut edges. Its auditorium is a full-size recreation of a ruined Roman amphitheater in Ferento in the Lazio region of Italy, with the glass stage designed to look like it is floating on the surface of the sea.

The winter solstice also sends light through the 70-metre light-worship metal tunnel to illuminate a large stone at the other end. An aperture has been built into the tunnel to admit light, with a well beneath it. The chisel marks on it suggest that it dates from medieval times. The bottom of the well is covered with pieces of optical glass, where the individual raindrops can be seen as they fall into the well when it rains.

As you walk around the maze-like site, it is hard not be to awe of what you see or encounter. It gives you a sense of anticipation and appreciation for nature and beauty. Every element here is precisely positioned to lead you somewhere and to make you look. In a way, it is like being ‘manipulated’ to see the nature around you through architecture and landscape design, which is quite ambitious and bold.

After spending some time here, it felt quite peaceful and contemplative. I think the project has succeeded in merging nature, architecture and design together harmoniously. It would be wonderful to revisit the site on the days of summer/winter solstice for a more enchanting experience.

Houkusai & Hirashige’s ukiyo-e exhibition at MOA Atami

Posted on October 22, 2018 by Toothpicker

After my visit to Kyu Hyuga Bettei, I headed back to the train station to take a free shuttle bus to the MOA Museum of Art situated on the top of hill that overlooks the sea. Like Miho Museum in Kyoto, this private museum was opened in 1982 by the Mokichi Okada Association (MOA) to house the art collection of the multimillionaire and religious leader (Church of World Messianity) Mokichi Okada (1882–1955).

There are 3,500 paintings, calligraphy works, sculptures, lacquerware and ceramics focusing on Japanese and Chinese art. The museum reopened in 2017 after a major renovation by contemporary artist Hiroshi Sugimoto and architect Tomoyuki Sakakida.

Interestingly, in order to reach the entrance of the museum, visitors have to go up a series of long escalators in a tunnel-like setting with colour-changing lighting. And when visitors reach the top, there is a dome showcasing some projected imagery with sound installations. The whole experience (before you even reach the museum) is immersive and uplifting, which makes you anticipate and look forward to what is to follow.

Finally, after I left the first building, I was out in the open with the sky and sea on one side, and a massive pinkish contemporary building on the other. And before stepping onto the the long and wide staircases, I was greeted by Henry Moore’s bronze work, “King and Queen”. I was incredibly lucky with the weather, and the view of the sky and sea was spectacular on the day of my visit.

I was also fortunate enough to have been able to see the special exhibition: “Hokusai and Hiroshige―The Thirty-six Views of Mt. Fuji and the Fifty-three Stages of the Tokaido“. Although I have seen several exhibitions on the ukiyo-e by Hokusai and Hiroshige, I have never seen the two complete series side by side, so I was really excited about it.

Thirty-Six Views of Mount Fuji by Katsushika Hokusai

Published in 1831 by Nishimura Eijudō press, Katsushika Hokusai’s (1760-1849) 36 woodblock print designs were published initially, with 10 more added later on. The two most famous prints are “The great wave of Kanagawa” and “A mild breeze on a fine day” or The Red Fuji”, and they both depict the power and calmness of nature. In every print, the revered Mount Fuji can be seen from different angles, sizes and colours.

“Fifty-three Stations of the Tokaido” by Utagawa Hiroshige

The Hoeido press published Utagawa Hiroshige’s (1797-1858) “Fifty-three Stations of the Tokaido” in 1833-4 after his expedition with the Shogun from Edo to Kyoto the previous year. The series of woodblock prints feature the landscape of the 53 post stations along the The Tokaido route, which connected Edo with the then-capital of Kyoto. If you want to learn more about this, you can check out this map that features the locations and prints by Hiroshige.

The compositions, the use of colours and tones, and most importantly –humanity– are expressed vividly by the two great masters. It was a real treat to be able to see the complete sets at this exhibition.

Besides the temporary exhibitions, there are some exquisite National treasures that can also be found at the museum. One of them is Ogata Korin‘s masterpiece from the Edo period “Red and White Plum Blossoms,” painted on a pair of two-panel folding screens. The other is another Edo period Tea-leaf jar with a design of wisteria by Nonomura Ninsei. And in another room, there are also some photographic works by Hiroshi Sugimoto of the sea shot from Atami.

There is even a Noh theatre inside the museum where performances and concerts are held regularly.

One you step out of side of the building, a path would lead you to the Japanese tea garden, Ippaku-an and Shotei tea houses and the reconstructed Residence of Ogata Korin (a famous Japanese painter, lacquerer and designer of the Rinpa school) based on the documents from the Konishi Archive.

It was incredibly calm and meditative to walk around the garden, and I only wish I had more time to spare here. I would recommend a visit to this stunning museum especially if you want to get away from the hustle and bustle of Tokyo. Although Tokyo offers many world-class museums, it is the beautiful nature and environment that makes this museum stands out from the crowd.

The architecture of Kanazawa

Posted on October 20, 2018 by Toothpicker

Tsuzumimon at Kanazawa station

As soon as you arrive at Kanazawa train station, the “Motenashi Dome” (Welcome Dome) made up of 3,019 glass panels is likely to catch your eye. This train station is thought to be one of the most beautiful train stations in the world, and it is designed by Ryuzo Shiroe. And when you walk out of the conservatory-like space through the eastern part of the station, you would encounter the stunning and gigantic wooden structure called Tsuzumimon (drum gate). This 13.7 meter-high gate is supported by two twisted pillars, and the design resembles the tsuzumi, the drums featured in Noh theatre and Kaga Hosho (the style of Noh traditionally performed in Ishikawa prefecture) performances.

Walking around Kanazawa, it is hard not to notice the mix of old and new architecture, and since it was spared from the air raids during the war, I think the architecture here is more varied and interesting than many other cities in Japan.

Traditional houses

Although I did not have time to visit many sights, I did enjoy wandering around the city while stumbling upon some interesting buildings. There is a conspicuous Western style red brick building at the bottom of the castle that really intrigued me, and it is The Shiinoki Cultural Complex, a government building built in 1924. While the front of the building has kept its original facade, the back of the building has a modern glassed facade. There are two amazing-looking 300 year old Chinquapin trees standing symmetrically in front of the main entrance and they are designated as Japan’s National Natural Monuments.

The Shiinoki Cultural Complex

The Owari-cho area not far from the Omi-cho Market used to be a bustling merchant district during the Edo period, and so you can find many fascinating Edo period architecture here.

One of them is Gallery Mita, an art gallery housed in a Western-style building constructed in 1930, which has been designated as a Registered Tangible Cultural Property because of its rarity. The gallery sells mainly ceramics dishes, and it has a cafe next door. I especially love the stained glass designs here.

When I took a route away from the main street, I came across a derelict building/house in an alley that has many art deco elements and seems to be from that period. Even though the house has fallen into disrepair, you can still see the architectural details and appreciate the fine design elements like the railings and tiles. It is a shame to see that it has been abandoned.

As for contemporary architecture, The 21st Century Museum of Contemporary Art and D. T. Suzuki Museum (see my other posts) are good examples, but there is also the Kanazawa Umimirai Library designed by Kazumi Kudo and Hiroshi Horiba in 2011, which I didn’t get to visit.

If you want to learn more about the architecture of Kanazawa, there are some suggested walking/cycling routes that encourage visitors to explore the city’s diverse architecture:

https://www.kanazawa-kankoukyoukai.or.jp/course/architect/web/en/

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The D.T. Suzuki Museum in Kanazawa

Posted on October 17, 2018 by Toothpicker

Out of all the sights I visited in Kanazawa, my favourite was the tranquil and minimalist D.T. Suzuki Museum, a small museum commemorating the life and works of Suzuki Daisetz Teitaro (1870-1966), a prominent Buddhist philosopher and writer.

Suzuki received his Buddhist training at the Engakuji Zen monastery in Kamakura and later became a professor of Buddhist philosophy at Otani University in Kyoto. Aside from Japanese, Suzuki was proficient in English, Chinese and Sanskrit, and he translated numerous religious texts and scholarly articles. He was also the author of more than 100 works on Zen and Buddhism in both Japanese and English. I have read one of his most popular books: “An Introduction to Zen Buddhism” (1934), which is considered an influential book that brought the teachings of Zen Buddhism to the Western world esp. to the United States.

The museum opened in 2011 and it was designed by well-renowned Japanese architect, Yoshio Taniguchi (also known for his redesign of the Museum of Modern Art in New York). The architecture and landscape is so serene and calming that it is hard not to want to slow down when you enter the museum. There are only a few exhibit rooms showcasing the writings and some photographs of Suzuki, but it is sufficient for visitors to learn about his dedication to Zen Buddhism.

Outside of the main building, there is the Contemplative Space, where visitors can sit in a large room with benches, take time to meditate or contemplate while enjoying the view of the Water Mirror Garden outside.

The Water Mirror Garden outside also embodies the same Zen and tranquil quality found inside the museum and in the Contemplative Space. There is much harmony between the architecture and nature, and in many ways, I think this museum can be seen as a modern ‘Zen temple’.

Here is a quote from “An Introduction to Zen Buddhism” by Suzuki on Zen:

“The idea of Zen is to catch life as it flows. There is nothing extraordinary or mysterious about Zen. I raise my hand; I take a book from the other side of the desk; I hear the boys playing ball outside my window; I see the clouds blown away beyond the neighbouring wood: — in all these I am practising Zen, I am living Zen. No wordy discussions is necessary, nor any explanation. I do not know why — and there is no need of explaining, but when the sun rises the whole world dances with joy and everybody’s heart is filled with bliss. If Zen is at all conceivable, it must be taken hold of here.”

The back exit of the museum can lead you out to the top of the hill where you can get a view of the 21st Century Museum of Contemporary Art. And as you follow the path, you will reach Kenroku-en, one of the Three Great Gardens of Japan.

Hotel Baison in Mino

Posted on July 20, 2018 by Toothpicker

When I was planning my trip to Mino, I struggled initially to find an accommodation in the town centre. I was quite perplexed by this, and so I started to check on google map. Eventually, I found a hotel called Baison, but apart from the location, I could not find the website nor any info online. Hence I decided to write an email to the local tourist office, and within a day or two, someone responded and told me that the hotel has only just opened, but they would ask the hotel to contact me as soon as possible.

So far so mysterious… soon after that email exchange, someone from Baison emailed me to apologise for the lack of information online. Apparently, the 5-room hotel had just opened, and the website was due to be launched, but I was willing to take the risk as the photos and descriptions of the hotel looked beautiful. Although the price was over my planned budget ( actually it was cheaper then due to the soft opening), I decided to splash out for one night.

The 150-year old former Umemura Residence has been converted into an intimate and elegant hotel while maintaining the original architectural details and structure. As soon as I walked into the hotel, I was immediately struck by the high ceiling, roof beams and Asian antiquities. And not surprisingly, I was the only guest staying there during my visit, so I received almost VIP treatment from the polite couple who run the hotel. They told me that they moved to Mino from the city recently, and they are very new to the town. However, their dream was to preserve and restore old buildings, and the hotel was their first project.

Throughout this trip, I have stayed at traditional ryokans, temple lodging, modern hostel, business hotel, and guesthouses etc, yet this hotel really stood out for me in terms of its design and attention to details. Everything has been tastefully chosen, and nothing looked out of place.

One of the unusual feature at this hotel is their stone sauna. Unlike standard sauna, guests can lie down on hot stones instead. It was a good way to get the toxin out of the body after a long day of travel and sightseeing.

The cafe has two levels and it is constructed of mainly wood. There is also a library where guests could read while enjoying their coffees, and best of all, they could even pick their favourite cups and saucers from the photos.

Although there is no restaurant at the hotel, it is located just off the main street, so most of the restaurants and cafes are within walking distance.

I would highly recommend this hotel if you are planning to stay in Mino. Although the room rates are not cheap, they are worth it considering the effort that has been poured into this project. And if you love architecture, then you are likely to appreciate the beauty of this restored building.

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Category Archives: Contemporary