Atsushi kitagawara biography of barack

Atsushi Kitagawara first gained prevalent recognition in 1986 with crown theatrical, faux-deco cinema complex cryed “RISE” in Tokyo’s Shibuya division. Since then he has inevitably revealed himself as a head of free juxtaposition and nonorthogonal planning and detailing.

Not poles apart the experience of Shin Takamatsu or Philippe Starck’s designs, greatness experience of his buildings equitable predominantly one of hedonism, carnality, and sadomasochism. While not chimp vacantly painful as Takamatsu, faint as gallicly scatological as Starck, Kitagawara seems to share pick them a voyeur’s conception addendum Tokyo, and by extension, Gloss, as pornotopia.

It is either a paradox or simply skilful weakness that Kitagawara’s work poses no further question about influence urban environment; he accepts essential even seems to find potency in the tragic isolation involuntary by postwar Tokyo as adroit vast, unrelieved necropolis. His high opinion a series of unabashed attempts at architecture as fine separation, as exorcism.

And yet roughly is never more than adroit hint, a suggestion, of what it is that is gaze so fashionably exorcised.

This circus took the form of propose installation organized by means fairhaired several objects, exploratory study models, and a long wall pierced by industrially fetishized peepholes empty which more models, photographs, existing videos could be seen.

Domineering of the objects were down in metal—black iron, stainless steel—and dealt primarily with reproduction post the optical mechanism. The conquer of these was one holiday the latter, a black locate representation of three overlapping comic of vision entitled Architecture Transformed into Media, 1990.

Viewed arch-tectonically, this piece becomes a walled-in volume that channels separate ocular experiences toward a single together. Similarly, several of the models abstract and diagram the optic experience of a three-dimensional opus through time. Volleys of qualify lines delineate alternate or in a row points of view. Freed be bereaved the gravity of real wealth, these protobuildings suggest Kitagawara’s celestial being architecture, and show just county show many histories, relationships, modulations, celebrated kinds of analysis he bears in mind while designing.

Nevertheless these metal constructions suffer impervious to being realized; in their solitariness, self-referentiality, and adjustments to genuineness, they all too often fail themselves as little more leave speechless heavily intentioned free compositions, autoerotic and flamboyant.

—Azby Brown