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Concepts in Motion
Alison Castle reports on concept cars created by visionaries—architects, artists, amateurs—from outside the field on automotive design.
Spring 2023 Issue
As part of the artist’s guest-edited special section for the Spring 2023 issue of the Quarterly, Marc Newson reflects with IWA Sake founder Richard Geoffroy and architect Kengo Kuma on their respective contributions to IWA Sake in Japan: bottle, brewing, and building. The sake brewery, or kura in Japanese, takes its name from its site of Shiraiwa, located in the town of Tateyama.
The brewing process at IWA Sake, Shiraiwa kura, Japan, 2021. Photo: Nao Tsuda, courtesy IWA Sake
The brewing process at IWA Sake, Shiraiwa kura, Japan, 2021. Photo: Nao Tsuda, courtesy IWA Sake
Richard Geoffroy and I bonded over our admiration of Japanese culture, particularly the high value placed on skill and craft, and the obsession with minute detail. The process behind IWA exemplifies Richard’s unique approach: from the bottle to the brewery, he places a similarly high value on design.
IWA Sake bottle and glassware, designed by Marc Newson, 2020. Photos: Jonas Marguet
The parameters were fairly defined in terms of the functionality of the bottle: we wanted it to look like a bottle and have a recognizable silhouette, and be subtle and sophisticated. We were more playing with materials and finishes to achieve a subtle elegance.
IWA Sake’s Shiraiwa kura, Japan, designed by Kengo Kuma, 2021. Photo: Nao Tsuda, courtesy IWA Sake
IWA Sake’s Shiraiwa kura, Japan, designed by Kengo Kuma, 2021. Photo: Nao Tsuda, courtesy IWA Sake
We considered history within the context of local culture. The roof directly references the traditional houses of the Gokayama region. Historically, the people and the koji yeast live together under one roof.
IWA Sake’s Shiraiwa kura, Japan, designed by Kengo Kuma, 2021. Photo: Nao Tsuda, courtesy IWA Sake
I always had a fascination for Kengo Kuma’s contribution to reviving the Japan-ness of Japan’s architecture: deeply and proudly rooted yet reaching out to the world. His philosophy has been a source of personal inspiration in creating IWA. In actual fact Kengo’s collaboration with IWA is beyond architecture; I am grateful he keeps guiding me through the arcanes of the cultures of Japan.
Marc Newson’s supplement also includes: “In Conversation: Ruth Rogers and Marc Newson”, “Concepts in Motion” by Alison Castle, “Sketch Book” by Marc Newson, and “Il Sorpasso” by Carlos Valladares.
Marc Newson, CBE, is an industrial designer whose work spans a wide range of disciplines. Born in Sydney, Newson staged his first solo exhibition at the age of twenty-three and two years later created the now iconic Lockheed Lounge. He is the only designer represented by Gagosian, and his designs are featured in the permanent collections of more than forty institutions worldwide.
Alison Castle reports on concept cars created by visionaries—architects, artists, amateurs—from outside the field on automotive design.
Carlos Valladares writes on Dino Risi’s Il Sorpasso (1962), examining the narrative structure and underlying tensions that keep viewers returning to this classic film.
Marc Newson joins restaurateur Ruth Rogers to discuss the compendium of topics he selected for a special supplement he guest-edited for the Spring 2023 issue of the Quarterly.
The Tokyo Toilet project has added twelve new public restrooms by renowned architects and designers to the city’s map since 2020, with five more scheduled to open in 2022. To learn more about the initiative, the Quarterly spoke with founder Koji Yanai and two of the participating designers, Toyo Ito and Marc Newson.
Marc Newson tells Derek Blasberg about his newest creations, explaining the backstory of these ornate works.
In this video, Marc Newson provides an overview of his latest exhibition. He details the various technical processes behind his new designs, including works in cloisonné, surfboards, swords, and large-scale glass chairs.
The Spring 2019 issue of Gagosian Quarterly is now available, featuring Red Pot with Lute Player #2 by Jonas Wood on its cover.
David Cronenberg’s film The Shrouds made its debut at the 77th edition of the Cannes Film Festival in France. Film writer Miriam Bale reports on the motifs and questions that make up this latest addition to the auteur’s singular body of work.
Founded in 1998 by Issey Miyake, A-POC (“A Piece of Cloth”) set out to bring the development and production of fabric and garments into the future. Over the subsequent decades, A-POC has worked at the forefront of technology to realize its goals, and under the leadership of Yoshiyuki Miyamae—who has been with Miyake Design Studio since 2001—A-POC ABLE has engaged in a dynamic series of collaborations with artists, architects, craftspeople, and new technologies to rethink how clothing is designed and made. On the occasion of the line being made available in the United States for the first time, the Quarterly’s Wyatt Allgeier visited the brand’s flagship in New York to speak with Yoshiyuki about the A-POC process, as well as the latest collaboration with the artist Sohei Nishino.
This year’s Salone del Mobile Milano brought together a range of installations, debuts, and collaborations from across the worlds of design, fashion, and architecture. We present a selection of these projects.
Chris Eitel, Vladimir Kagan’s protégé and the current director of design and production at Vladimir Kagan Design Group, invited the Quarterly’s Wyatt Allgeier to the brand’s studio in New Jersey, where the two discussed the forthcoming release of the First Collection. The series, now available through holly hunt, reintroduces the first chair and table that Kagan ever designed—part of Eitel’s efforts to honor the furniture avant-gardist’s legacy while carrying the company into the future.
In October 2023, Officine Générale, the Paris-based brand of elegantly crafted, understated menswear and womenswear, opened its newest store on Madison Avenue in New York. Pierre Mahéo, the brand’s founder and creative director, met with the Quarterly’s Wyatt Allgeier at this location to discuss the evolution and consistency of his process, the influence of modernists like Charlotte Perriand, and what’s next for the brand.