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古様な素材を提案することで、一番新しいプレミアムラウンジを

by @ GINZA SIX | ギンザ シックス

杉本博司と榊田倫之とのユニット「新素材研究所」 榊田:日本には1000年以上の文化のなかで培われてきた素材や工法があるのですが、今の時代に建築の仕事をしていると、どうしてもメンテナンスがしやすいものとか、寿命の長い素材をカタログから選ぶという現代的な手法に、一気に転換されようとしている状況を感じずにはいられません。 そんななかで、2008年に現代美術家の杉本博司と共に立ち上げた「新素材研究所」のコンセプトは「古様な素材を提案することが、今一番新しい」という確信を持って、アイロニカルに新素材研究と言っておきながら、実は古様な素材を研究し提案することを設計理念としています。ただ一方で、単純に数寄屋的や社寺的ということではなく、やはり現代の気分というのがあるので、素材や工法は古来であるけれど、納め方は現代的なディテールで構成していきます。 私は20代の多くを京都の建築家・岸和郎のもとで、近代以降の建築の様式や建築家と社会の関わり、建築家としてあるべき姿勢について学ぶことができました。ですから、建築家としての自分の骨格自体は岸に作ってもらえたと思っています。一方でアーティストでありながら若い頃から古美術商としてのキャリアも経てきた杉本と出会うことによって、日本の文化をエッセンスとして組み込めるようになったわけです。 杉本自身、私と共に新素材研究所を立ち上げるまでは、建築もインテリアも本人が現場に立ち会い、言わばセルフビルドでやってきていました。アート作品同様、そのコンセプトは非常に明解です。ただ、今回のGINZA SIXのように仕事として時間も予算も限りがあるとなったとき、杉本のパートナーとして、彼の主題やアプローチをどう解いて、空間に落としていくか。新素材研究所では、杉本と私がお互いにそんな明確な役割を持って、設計活動に取り組んでいます。 Hiroshi Sugimoto and Tomoyuki Sakakida Join Forces at New Material Research Laboratory Japan has specific materials and construction techniques that have been cultivated over a millennium, but in this day and age, you can't help but notice that the architectural zeitgeist is shifting towards the contemporary practice of methodically browsing through a catalogue for materials that are as maintenance-free and long-lasting as possible. Amid this shift, in 2008, artist Hiroshi Sugimoto and I established the New Material Research Laboratory (NMRL) with the philosophy that "The materials of the past provide a breath of fresh air today". So "New Material" is used ironically, as our focus is on researching and imagining novel uses for the materials that were used in ancient and medieval times. But that does not mean our designs are directly based on sukiya-style or the architecture of shrines and temples. We live in a contemporary age, after all, so while our techniques and materials may be from a past age, the design solutions that ultimately result consist of contemporary ideas and details. I had the privilege of working under the Kyoto-based architect Waro Kishi for most of my twenties, an environment that undoubtedly forged my instincts and my disposition as an architect. Kishi taught me about modern architectural styles, the role of an architect within society, and what an architect ought to be. And then meeting Sugimoto, an artist and someone who has had a distinguished career as a dealer of Japanese antique and folk art, has brought a new dimension to my work and showed me how to incorporate the essence of Japanese culture into what I do. Sugimoto himself, prior to creating NMRL with me, had already been dabbling in a number of architectural and interior design projects. Like his art work, his designs have a clear concept. With GINZA SIX, however, we were on a timeline and a budget. It was my job as Sugimoto's partner to interpret his themes and approach, and then translate them into interior design. At NMRL, we each have a clearly defined role to play in the projects we take on. プレミアムラウンジ「LOUNGE SIX」のポイントは「素材」 GINZA SIXでは建築ではなく、プレミアムラウンジである「LOUNGE SIX」のインテリアデザインを手がけていますが、新素材研究所のテーマからぶれずに「日本的なものと現代をどう再編集していけるか」という感覚で空間を解いています。一番のポイントはやはり「素材」に尽きます。 エントランスで顧客の方々を迎えるのは横幅10メートルにもなる、黒漆喰による外壁です。下塗りまでは複数の職人を入れてやるのですが、フィニッシュは熟練の左官職人が一気に仕上げます。黒漆喰はコテの押さえ方によって色のムラが抽象絵画のようになったり、職人の手技を感じてもらえる見せ場になるはずです。 そこから、大正時代に看板建築などに使われたブリキを貼った鉄板の扉を入ったレセプションフロアの床には、1912年から78年まで京都を走っていた市電の下の"電石"を敷きつめました。言ってみればアンティークなのですが、集めていかないと数が揃わないので、「見つけたら、とにかく買う!」。他の建築事務所とスキームが決定的に違うのは、そういうところだと思います。 レセプションエリアの奥にあるメインルームは、開口部の少ない空間で買い物をされた顧客の方々に開放感を感じてもらいたいと思い、自然光が入るようお願いをしました。結果、大きな面にわたる窓には、新素材研究所のシグネチャー的な意匠でもある縦桟(たてざん)の障子を配しています。 また、「LOUNGE SIX」に併設する個室との境は引き戸にして、杉や檜など針葉樹の仲間である鼠子(ネズコ)の木のへぎ板を、胡麻竹(ゴマダケ)で上から押さえたディテールをあしらいました。へぎ板とは木のブロックに刃を入れて目に沿って裂いたものを差しますが、よく茶室の天井などに使われる素材で、今は買う人間がいないので、職人がほとんど残っていません。胡麻竹は茶室のにじり口などに使われる素材です。いずれも日本的なスケールで使われてきた素材を、現代のスケールに合わせて使っています。 LOUNGE SIX, Where the Materials Take Center Stage For GINZA SIX, we designed not the architecture, but the interior of its premium lounge, LOUNGE SIX, which allowed us to explore a central theme of NMRL: "reimagining Japanese-ness for a modern world". It all comes down to the materials, plain and simple. Guests will be welcomed at the entrance by a ten-meter wide facade with a kuro-shikkui [black shikkui plaster] finish. Everything up to and including the undercoat plaster was done by multiple craftsmen, but the finishing coat had to be applied at once by a master plasterer. With kuro-shikkui, differences in pressure applied with the trowel create a mottled appearance not unlike abstract painting—this display of craftsmanship at the entrance is the first highlight. From there, guests enter through a door plated with tin previously used for what they called "signboard architecture" [where traditional wooden townhouses were given a facelift by erecting western-style facades that resembled signboards] and the like during the Taisho Era [1912-1926], and find themselves in the reception area. At their feet is stone flooring comprised of denseki [literally, "tram-stones"] that were originally used to pave the ground beneath the tracks of Kyoto's municipal tram, which operated between 1912 and 1978. These stones are essentially antiques that we had to seek out and buy on the spot in order to put together the number we needed—we have to keep an eye out for this kind of stuff at all times. As I said, our methods and techniques can be unorthodox, but this is what sets us apart from other architectural firms. Beyond the reception area is the main room, which we designed to let in as much natural light as possible to provide our shopping guests with a sanctuary of sorts, away from the retail floor, which has less natural light in comparison. For the wall-spanning window, we've added one of NMRL's signature designs: a special type of shoji screen with framework composed of vertical bars. Sliding doors separate LOUNGE SIX from a number of private rooms. We added hegi-ita detailing using thin strips of Japanese arborvitae—an evergreen tree belonging to the conifer family that includes cedar and Japanese cypress—held down with gomadake bamboo. Hegi-ita is made by splitting lumber along the grain using an edged tool, and was traditionally used in the ceilings of tea ceremony rooms and the like, but nowadays there barely exists a market for such a material, and consequently there are only a few craftsmen left who can do this kind of woodworking. Gomadake bamboo is a material that is used mainly for the nijiriguchi [a small, crawl-in entrance to a tea ceremony room]. In both cases we've taken a material used in traditional Japanese proportions and adapted them on a modern scale. ほとんど特注デザインの家具はユニークさを追求 家具に関しては、ほとんどを特注でデザインさせていただきました。ラグジュアリーなラウンジとなると通常はイタリアの高級家具が置かれていて、シートが深めで、フェザーが入っていて座り心地がいいというパターンなどが少なくないと思うのですが、今回大事にしたかったのはユニークさです。 メインルームに置かれる「ヘリコイドソファ」は、やはり新素材研究所がインテリアと家具を手がけた表参道のカフェ『茶洒 金田中』の「ヘリコイドチェア」がヒントになりました。「ヘリコイドチェア」は、杉本の作品に三次関数の数式を表現した明治期の数理模型と機構モデル群を撮影した写真シリーズがあって、その螺旋(ヘリコイド)を描く模型から関連付けた片肘タイプの椅子です。「ヘリコイドソファ」ではこれをもう少しゆったりとしたサイズで、文字通り、ソファとしてデザインしています。 さらに、2015年に惜しまれながら取り壊されたホテルオークラ東京の本館ロビーにあったテーブルセットもヒントにしました。上から見ると椅子が梅の花びらのように見立てられていたのですが、「ヘリコイドソファ」も丸テーブルとセットになったとき、どこか花のような印象を与えるように意識しています。ただ、現代人のシートハイトに合わせて、足元をスレンダーにしてソファ部分にボリュームを持たせるなど、プロポーションには現代的なエッセンスを入れました。脚の素材には宣徳(セントク)メッキと言って、ふすまの手かけなどに使われる素材を使いました。研究所では古い風合いの色を愛でて"古美色(こびしょく)メッキ"と呼んでいますが、これも職人が少なくなっている技の一つです。 そんな総じて空港にあるようなVIP向けのラウンジとは全く違うアプローチの空間が、顧客の方々の目に新鮮に映ってくれることを願います。 A Unique Arrangement of Custom-Designed Furniture As for the furniture, we decided to custom design practically all of it. When you picture a luxury lounge, you usually think of luxury Italian furniture, you know, deep-seated sofas with feather-stuffed cushions and so forth. But for GINZA SIX, we wanted to go for a more unique approach. In the main room are Helicoid Sofas, which are direct cousins of the Helicoid Chairs we designed for the Sahsya Kanetanaka cafe in Omotesando. The Helicoid Chair is a chair with a helix-shaped backrest that takes its inspiration from a series of photographs taken by Sugimoto of "stereometric exemplars", that is, mechanical models and sculptural renderings of mathematical models purchased from the West during the Meiji Era [1868-1912]—specifically, the spiral-shaped "helicoid" sculpture. The Helicoid Sofa is a slightly larger, more inviting lounge chair version of that. We also took inspiration from the round tables and chairs that graced the main lobby of the regrettably demolished Hotel Okura in Tokyo. When seen from above, the round table and the chairs surrounding it were arranged to resemble a plum blossom in full bloom. Similarly, the round tables and Helicoid Sofas in the GINZA SIX lounge were designed to evoke the image of a flower when arranged together. Of course, we've adjusted the seat heights to accommodate a variety of statures, made the leg area less bulky, made the seat cushions more plush, and gave the overall proportions a modern update. We've applied sentoku plating to the legs—sentoku is a kind of yellow bronze used for fusuma handles [typical fixtures in traditional Japanese-style houses used as sliding doors or room dividers]. At NMRL we affectionately refer to this material and its aged texture as "kobishoku plating" [literally, "beautifully aged color"]. Yet another example of a technique with an ever-dwindling number of master practitioners. All in all, we've taken a much different approach than your standard airport-style VIP lounge. It is our sincere hope that we have created a novel space for our guests to sit and relax. (2016年9月インタビュー) Interview and Text by Yuka Okada / Photographs by Daisuke Akita 銀座遠望 杉本博司 私の実家は戦前銀座二丁目で創業した銀座美容商事という美容品を扱う問屋を経営していた。戦後は御徒町に移ったが、銀座は子供の頃から慣れ親しんだ街だった。母親とは時々不二家の洋食を食べにいったが、週末は着飾って家族でニュートーキョーの中華料理を食べに行った。ニュートーキョーの窓辺から眺める数寄屋橋下の水面に移るネオンの輝き、今は首都高に覆われその風情は無い。私がアーティストとして頭角を初めて現したのも銀座だった。小学校4年の時、私は銀座松坂屋の屋上から服部時計店方面を見た絵を描き、子供絵画コンクールに出品したのだ。その絵は見事入賞を果たし、世界巡回展に展示され、そのまま帰って来なかった。コンクール授賞式は護国寺近くの講談社本社で開かれ、私は晴れの表彰状を受け取ったのだが、私はその時、その大名庭園風の庭に感銘を受けたのだ。私は大人になったらいつかこんな庭を造ろうと思った。模型少年だった私は、その庭を巨大な自然を模した模型だと思ったのだ。その後私は同じ世界の模型化である写真へと興味の対象を移していくことになる。その庭も首都高6号線となって消えてしまった。こうして私が思いでの地の一画に再びアーティストとして関れるのも不思議な因縁で、私は先祖帰りしたような気分でいる。 銀座は土地柄が美人だ。その地へと赴くとき、人々は着飾って出かけた。美人に厚化粧は向かない。素肌にうっすらとひと刷の白粉(おしろい)。これがこの度のGINZA SIXの化粧方針だ。「New Luxury」とは豪華を隠すことだ、豪華さをひけらかすことが20世紀までの豪華の世界スタンダードだった。しかし我が国の伝統的な価値観ではそれは「野暮」と称されてきた。利休のいう「名馬を藁屋に繋ぎ止めたる風情」これが「粋」というものだ。粗末な茶室で名椀を使う、というのもこの感性の延長線上にある。しかしここで重要なのは粗末を装いながら実は手の込んだ造作を演出する点にある。いわば金持ちが貧乏人を装う、この美意識は転び様によっては洗練か嫌みの境界線上にある。名人が危うきに遊ぶように、時代の新しい感性は常に反動の揺り戻しに晒される。 銀座の土地柄を美人に保ち続けること、それも日本の伝統的な美意識に則って。これが私達に課せられた使命だ。 Text by Hiroshi Sugimoto A View over Ginza Before the war our family home was in Ginza 2-chome where we had a beauty products wholesale business called Ginza Beauty Trading. The business moved to Okachimachi after the war, but I was still very familiar with Ginza from childhood. Now and again my mother took me to Fujiya for Western food, while at the weekend the whole family would get dressed up and go to the New Tokyo for a Chinese meal. The gleaming neon reflections on the water beneath the Sukiyabashi Bridge that I could see from the restaurant's windows are gone now that the canal has been covered over by the Shuto Expressway. It was also in Ginza that I achieved prominence as an artist for the first time. In my fourth year at primary school, I painted a picture looking from the roof of Matsuzakaya department store towards the Hattori watch and jewelry store and entered it into a children's art competition. To my surprise, the picture won a prize, whereupon it was sent off on a world tour—from which it never returned. The prize ceremony was held at the offices of the publisher Kodansha near the Gokokuji Temple. They presented me with a magnificent certificate, but what really impressed me was their formal Japanese garden, which seemed worthy of a feudal lord. "When I grow up, I want to make a garden like this," I thought. As a boy, I loved making models and I saw the garden as a scaled-down model of far larger nature. Later, my interest was to shift to photographs, another "modelized" version of the real world. That garden too has gone, replaced by Route 6 of the Shuto Expressway. By a twist of fate, I find myself once again involved as an artist with a piece of land that is so rich in memory for me. It feels like an atavistic reversion. As a district, Ginza's character is that of a beautiful woman. Everyone who goes there decks themselves out in their finest clothes. Heavy makeup, however, does not become a true beauty; far better is a light dusting of face powder. GINZA SIX shares this cosmetic philosophy. Concealing luxury is the new luxury. Flaunting it was standard practice worldwide until the end of the twentieth century. According to Japan's traditional values, however, that is mere boorishness. Japanese-style iki, or chic, consists, as Sen no Rikyu said, in "tying a fine horse to a thatched house." Drinking tea from an exquisite bowl in a rustic tea house is an extension of this philosophy. The important thing is to create a pretense of coarse rusticity while deploying the most refined utensils. This esthetic, which is like a rich person trying to pass themselves off as poor, can find itself teetering on a knife-edge between the offensive and the sophisticated. Still, the master practitioners of any art are always drawn to danger and the sensibilities of a new age are invariably exposed to reaction's backlash. Text by Hiroshi Sugimoto

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BareMinerals GINZA SIX 限定 メイクアップパーソナルレッスン

by @ GINZA SIX | ギンザ シックス

ベアミネラル専属のトップメイクアップアーティストがお客様1人1人の個性に合わせ、ヘルシーでナチュラル感あふれるメイク方法を伝授します。 懇切丁寧なパーソナルレッスン形式なので翌日からすぐに実践でき、レッスン終了後には価格相当分の製品をお持ち帰りいただけます。 ベアミネラル GINZA SIX 限定 メイクアップパーソナルレッスンメニュー 1 BARE BASIC ベアベーシック 60分 10,260円(税込)~ ベアミネラルを代表するファンデーションを使い、ベースメイクだけでナチュラル&ヘルシーに仕上げるテクニック満載のメニュー。ベアミネラルビギナーズに特におすすめです。 2 BARE PERFECT ベアパーフェクト 90分 22,680円(税込)~ ベースメイクに加え目元や口元などトータルでナチュラルビューティーに仕上げるテクニックを随所に盛り込んだフルメイクメニュー。メイクアップの前にはミネラルと植物の恵みを贅沢に配合したスキンケアで肌を解放し内外からヘルシービューティーを満喫していただけます。 3 BARE MAGIC ベアマジック 30分 4,320円(税込)~ 小顔効果抜群!1人1人の骨格に合わせ天然のハイライトを生かしたナチュラルな立体感を作る簡単テクニックをお伝えします。

【ベアミネラル】GINZA SIX 限定 メイクアップ パーソナルレッスン

by @ GINZA SIX | ギンザ シックス

ベアミネラル専属のトップメイクアップアーティストがお客様1人1人の個性に合わせ、ヘルシーでナチュラル感あふれるメイク方法を伝授します。 懇切丁寧なパーソナルレッスン形式なので翌日からすぐに実践でき、レッスン終了後には価格相当分の製品をお持ち帰りいただけます! ベアミネラル GINZA SIX 限定 メイクアップパーソナルレッスンメニュー 1 BARE BASIC   ベアベーシック 60分   10,260円(税込)~ ベアミネラルを代表するファンデーションを使い、ベースメイクだけでナチュラル&ヘルシーに仕上げるテクニック満載のメニュー。ベアミネラルビギナーズに特におすすめです。 2 BARE PERFECT   ベアパーフェクト 90分   22,680円(税込)~ ベースメイクに加え目元や口元などトータルでナチュラルビューティーに仕上げるテクニックを随所に盛り込んだフルメイクメニュー。メイクアップの前にはミネラルと植物の恵みを贅沢に配合したスキンケアで肌を解放し内外からヘルシービューティーを満喫していただけます。 3 BARE MAGIC   ベアマジック 30分   4,320円(税込)~ 小顔効果抜群!1人1人の骨格に合わせ天然のハイライトを生かしたナチュラルな立体感を作る簡単テクニックをお伝えします。 完全予約制 開催日:9月24日(日) ご予約、お問い合わせは 03-6263-9977

能に限らず、日本の伝統文化の豊かさや深さに気軽に触れる場として

by @ GINZA SIX | ギンザ シックス

GINZA SIXへの移転にかける想い 43年間、渋谷の松濤という閑静な住宅街にあった観世能楽堂が、伝統と革新性が同居する街 銀座の、GINZA SIXという最新のテクノロジーを導入した商業施設に、脈々と守り伝えてきた檜舞台を移築し、新しい能楽堂を構えます。 もともと観世大夫(宗家)の屋敷は、四代前の家元がご維新にともない拝領地をお返しするまで、銀座にありました。その一方で街を歩いていてもお年寄りが目立つ高齢化社会のなかで、若い方々に、能に限らず、日本の伝統文化の豊かさや深さにもっと気楽に触れてもらいたいという想いもあり、移転を決意しました。 特に今の時代、「大和心」が失われつつあることに危機感を感じています。やわらかさ、やさしさ、しなやかさ——それは古来からの日本人のアイデンティティであり、精神的な根幹を成してきたものでもあります。 例えば「鉢木(はちのき)」という能があります。北条時頼が旅僧に身をやつして諸国を巡回する。冬のある日、栃木県の佐野まで来たとき、佐野源左衛門常世に一夜の宿を請います。一家の生活は落ちぶれ、疲弊しボロを纏っている。聞けば「一族に横領され、土地も取られ、散々な体で暮らしています」と。貧しい生活にもかかわらず、常世は粟の飯をすすめ、旅僧に暖をとってもらうために、大切にしていた鉢植の梅、松、桜を切り、焚き火にする。そこで「今夜のおもてなしに」という言葉が出てくるのですが、けして声高には謡わないのです。それが「大和心」であって、「おもてなし」という言葉にしても「これが日本のおもてなしです」と表立って口にすることではないのです。 ただ、この能を舞うのは現代人として呼吸をしている観世清和です。観阿弥や世阿弥が生きていた頃に想いを馳せるのは良いとしても、昔と同じことを、そのまま今の時代の人間ができるはずがありません。時代の変化に対応し、機微に応じた洞察力を備えるということが、芸道だと思います。 What the Relocation to GINZA SIX Means for the Kanze School The Kanze Nohgakudo, or the Kanze Noh Theater, which has been nestled in the quiet residential neighborhood of Shoto in Shibuya for 43 years, is currently in the process of relocating its storied and hallowed cypress stage to GINZA SIX, a shopping mall with cutting-edge facilities that will open in the heart of Ginza in Spring 2017. Ginza, a commercial district where tradition and innovation coexist, is technically not a new home for the Kanze School. Historically, the Kanze School was based in Ginza until four generations ago, when the 22nd Grand Master Sanjuro Kiyotaka returned the land to the Japanese government in accordance with the Meiji Restoration [1868]. So in that sense it is a homecoming. The other reason for the relocation is that in an aging society where we see so many senior citizens out and about, I wished to provide a more accessible setting for young people to be exposed not only to Noh, but to the richness and depth of Japan's traditional culture. In this day and age especially, I can't help but feel that we are losing touch with yamato-gokoro, that is, the spirit of softness, kind-heartedness, and gracefulness that have defined the Japanese identity and formed the bedrock of our psyche since time immemorial. Consider the Noh play "Hachinoki" ["The Potted Trees"]. Hojo Tokiyori, a regent of the Kamakura shogunate, is traveling incognito throughout Japan, posing as a priest on pilgrimage. One winter's day, as he is passing through the city of Sano in Tochigi Prefecture, a snowstorm causes him to seek shelter from the shabbily-dressed Sano no Genzaemon Tsuneyo, a former lord whose family has been reduced to poverty. Prodded by the priest as to his clan affiliation, Tsuneyo reveals that "Kinsmen usurped my lands, and now I live in misery." Despite his wretched state, Tsuneyo offers the priest some steamed rice with millet, and as the night wears on and grows colder, he cuts down his prized potted plum, pine, and cherry trees and uses the branches to start a fire, saying, "...for this night's entertainment." But he recites this line quietly, almost to himself. That is yamato-gokoro. When the Japanese talk about omotenashi, they mean hospitality that does not draw attention to itself, that does not ask to be recognized. Of course, when I perform this Noh play I do it as Kiyokazu Kanze, who lives and breathes in contemporary times. Contemplating the times when the founders of Noh—playwrights Kannami [1333-1384] and his son Zeami [1363-c. 1440]—walked the Earth is constructive to an extent, but it is unreasonable to expect someone in the present to recreate a performance in its original form. I believe that the performing arts must possess the adaptability to keep up with the changing times and the insight to understand the subtleties that unfold therein. 多言語を許容する最先端の能楽堂として 今年7月、世界中の優れた舞台芸術が集うリンカーンセンター・フェスティバルにご招聘いただき、ニューヨークのローズシアターで5日間6公演を大好評の中に上演させていただきました。海外公演は、鑑賞眼の肥えたお客様が多く、日本以上に高い評価を受けることがございます。面を掛けていても場の空気感のようなものがあり、お客様が前のめりで観てくださっている様子が伝わります。彼らは能楽における様式美を愛でてくれます。自分たちにはない世界だからなのでしょう。ニューヨークの人々は能を見事に受け入れてくださいました。 以前、バルト三国のリトアニアで「葵上(あおいのうえ)」を演じた折にも、地謡8人が整然とお扇子を取って、謡を謡い、終わった後にやはり整然とお扇子を置く。その様式美を見て、オペラ歌手でもある文化大臣が「故郷の教会のミサを思い出した」とおっしゃってくださいました。言葉の壁を越えて、自由に能を捉えてくださったのがうれしかったですね。 海外での能公演はオペラのように、字幕を付けるケースが主流です。GINZA SIXでも当初はイヤホンガイドになりますが、多言語対応のためにインフラ設備を整える予定です。さらに新しい能楽堂の重要なテーマである、バリアフリーを積極的に導入したいと思っています。多言語システムを視聴覚障害をお持ちの方のためにも活用するなど、障害者の方が当たり前に、能を楽しんでいただける環境作りを心がけます。また、目付柱の取り外しができることで視覚を広げることができたり、照明設備も従来の能楽堂にはないものを整えたりと、能以外のジャンルの公演にもご活用いただけるように考えています。 新しい能楽堂は、日本の方、海外の方の分け隔てなく、理屈抜きで見ていただける場所でありたい。「事前にお勉強をしないと、能を見れないのかな」と思わないで、まずは足を運んでもらいたいのです。 能の謡(うたい)は、古い言葉です。そこにさらに節が付き、母音が延びる。言葉自体の意味もデフォルメされ、日本人でも聞き取りにくい。だからこそ「どうして舞台の柱は4本なのですか?」などと理詰めで理解しようとしないで(笑)、自由に感性豊かに受け止めてもらえたらと思います。 A State-of-the-Art Nohgakudo With Multilingual Support This past July, our troupe was invited for the first time to the Lincoln Center Festival, an annual event held in New York hosting some of the best performing arts from around the world. There we conducted six performances over five days at the Rose Theater to much fanfare and acclaim. Performances abroad such as these are attended by discerning, theater-savvy audiences, and we occasionally receive greater acclaim than we do in our native Japan. Even from behind a mask I can feel the energy of the room, and I can imagine the audience leaning forward in their seats. They appreciate the beauty of form on display in Noh theater—perhaps because they are witnessing a world that is completely unfamiliar to them. Truly, the people of New York embraced our art. Some time ago, we performed "Aoi no Ue" ["The Lady Aoi"] in Lithuania. There is a part where the ji-utai [the eight-member chorus, who sit in two rows stage left] pick up their sensu [Japanese folding fans] in unison, chant the chorus, and then when they are through, set their sensu back down in unison. The Minister of Culture, who also happened to be an opera singer, later said that the ritual had reminded him of attending Mass back in his hometown. I truly appreciated that he had ventured beyond the language barrier and interpreted what he had seen on his own terms. When performing Noh overseas, we normally feature supertitles to convey to foreign audiences what is happening on stage. At GINZA SIX, we will initially feature English in-ear guidance, with full multilingual support forthcoming. Furthermore, the issue of accessibility, or what we refer to in Japan as barrier-free, is a central focus of the new theater. We will make every effort to provide an environment for guests with disabilities to enjoy Noh—for example, by using our multilingual support system to assist those with visual or hearing impairment. The metsuke-bashira [a pillar placed stage right that serves as a positioning guidepost for dancers] on our stage can be removed to allow for a more unobstructed view, and our stage lighting system is much more adaptable than what you usually find at a Noh theater. We envision our stage being used for performances other than Noh. The new Nohgakudo will be a place where both Japanese and foreign theatergoers alike can imbibe a visceral experience of our art, free of assumptions and expectations of what it is or should be. No need to do research or study up on the subject matter beforehand—come in fresh, and ask questions later. Noh recitations are in a very old form of Japanese, and syllables are sung to a fushi [melody, or aria] with long vowel sounds. The meaning of the words are often not meant to be taken literally, rendering the poetry all but indecipherable to even native Japanese. All the more reason why we advise against trying to understand our plays and performances on a purely intellectual level. Why are there four pillars on stage? You're missing the point! (Laughs.) Come in with an open mind and heart, and let your emotions be moved. 新しい能楽堂が理想とする風景 私はワーグナーが大好きで、一昨年、家内と一緒にバイロイト音楽祭に伺いました。ワーグナーだけを演目とする有名なフェスティバルなのですが、ワーグナー自身が設計して1876年に完成した木造の祝祭劇場のあらゆる素晴らしさに圧倒されました。 バイロイトの閑静な丘の上にあって、そこに向かってなだらかに上がってゆくアプローチを見て、気持ちが高揚します。開演5分前になってもアナウンスもなくて、鐘がささやかにチリンチリンと鳴るだけ。そうするとお喋りをしていた人もなんとなく劇場に入っていく。各扉の係はそこに立っているだけで、大声で誘導もなければ、チケットのチェックもしない。クロークの係はたった一人なのに行列ができない。 つまり、お客様と主催者の関係は、阿吽の呼吸ともいえる成熟されたマナーで、成り立っているわけです。ヨーロッパにしかないスマートさだと思いました。 新しい能楽堂が、このようなサービスをすぐに提供するのは難しいのですが、生の体験に触れることで、心が生まれ変わることを伝えることはできます。GINZA SIXには洗練された食の空間が誕生すると伺っています。素晴らしい体験の後ではワインや食事の味も変わるはずです。 新しい能楽堂は少しでもそんな風景がある場所を目指せたらと思っています。 The Vision for the New Nohgakudo As a devotee of Wagner's music, I could not pass up an opportunity to attend the Bayreuth Festival in Germany with my wife two years ago. The famous music festival— comprised exclusively of performances of operas by Richard Wagner—is held annually at the Bayreuth Festspielhaus, a wooden theater designed by the 19th-century composer himself and completed in 1876. The grandeur of it all was stunning. The theater sits atop a peaceful hill in Bayreuth, and the upward slope of the approach evokes a sense of arriving at a higher plane. Inside, there are no announcements made over the PA system—only the modest ringing of a bell to let people out in the lobby know that the performance will begin in five minutes. And with that, the conversations and chit-chat wind down and the last guests saunter into the auditorium. During all of this, the ushers at each door barely move—they're not shouting out instructions, not even checking tickets. The cloakroom is manned by a single attendant, but there's never a line. Basically, there's an unspoken order to everything, a dignity shared by both the theatergoers and the organizers of the event that puts them in perfect sync. We Japanese have a saying for this: "a-un no kokyuu", but this, I thought, was the kind of savoir-vivre you could only see in a place as cultured and theater-savvy as Europe. It might be some time before our new theater is able to provide a kind of service on that level, but I have no doubt that the raw, immediate nature of our art can inspire, rejuvenate, and even trigger a spiritual experience. And I hear that GINZA SIX will also offer a number of fine dining options in refined settings. After a Noh performance, you can be sure that food and wine will taste all the richer for it. That is my vision for the new Nohgakudo. And this is only the beginning.

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能に限らず、日本の伝統文化の豊かさや深さに気軽に触れる場として

by @ GINZA SIX | ギンザ シックス

GINZA SIXへの移転にかける想い 43年間、渋谷の松濤という閑静な住宅街にあった観世能楽堂が、伝統と革新性が同居する街 銀座の、GINZA SIXという最新のテクノロジーを導入した商業施設に、脈々と守り伝えてきた檜舞台を移築し、新しい能楽堂を構えます。 もともと観世大夫(宗家)の屋敷は、四代前の家元がご維新にともない拝領地をお返しするまで、銀座にありました。その一方で街を歩いていてもお年寄りが目立つ高齢化社会のなかで、若い方々に、能に限らず、日本の伝統文化の豊かさや深さにもっと気楽に触れてもらいたいという想いもあり、移転を決意しました。 特に今の時代、「大和心」が失われつつあることに危機感を感じています。やわらかさ、やさしさ、しなやかさ——それは古来からの日本人のアイデンティティであり、精神的な根幹を成してきたものでもあります。 例えば「鉢木(はちのき)」という能があります。北条時頼が旅僧に身をやつして諸国を巡回する。冬のある日、栃木県の佐野まで来たとき、佐野源左衛門常世に一夜の宿を請います。一家の生活は落ちぶれ、疲弊しボロを纏っている。聞けば「一族に横領され、土地も取られ、散々な体で暮らしています」と。貧しい生活にもかかわらず、常世は粟の飯をすすめ、旅僧に暖をとってもらうために、大切にしていた鉢植の梅、松、桜を切り、焚き火にする。そこで「今夜のおもてなしに」という言葉が出てくるのですが、けして声高には謡わないのです。それが「大和心」であって、「おもてなし」という言葉にしても「これが日本のおもてなしです」と表立って口にすることではないのです。 ただ、この能を舞うのは現代人として呼吸をしている観世清和です。観阿弥や世阿弥が生きていた頃に想いを馳せるのは良いとしても、昔と同じことを、そのまま今の時代の人間ができるはずがありません。時代の変化に対応し、機微に応じた洞察力を備えるということが、芸道だと思います。 What the Relocation to GINZA SIX Means for the Kanze School The Kanze Nohgakudo, or the Kanze Noh Theater, which has been nestled in the quiet residential neighborhood of Shoto in Shibuya for 43 years, is currently in the process of relocating its storied and hallowed cypress stage to GINZA SIX, a shopping mall with cutting-edge facilities that will open in the heart of Ginza in Spring 2017. Ginza, a commercial district where tradition and innovation coexist, is technically not a new home for the Kanze School. Historically, the Kanze School was based in Ginza until four generations ago, when the 22nd Grand Master Sanjuro Kiyotaka returned the land to the Japanese government in accordance with the Meiji Restoration [1868]. So in that sense it is a homecoming. The other reason for the relocation is that in an aging society where we see so many senior citizens out and about, I wished to provide a more accessible setting for young people to be exposed not only to Noh, but to the richness and depth of Japan's traditional culture. In this day and age especially, I can't help but feel that we are losing touch with yamato-gokoro, that is, the spirit of softness, kind-heartedness, and gracefulness that have defined the Japanese identity and formed the bedrock of our psyche since time immemorial. Consider the Noh play "Hachinoki" ["The Potted Trees"]. Hojo Tokiyori, a regent of the Kamakura shogunate, is traveling incognito throughout Japan, posing as a priest on pilgrimage. One winter's day, as he is passing through the city of Sano in Tochigi Prefecture, a snowstorm causes him to seek shelter from the shabbily-dressed Sano no Genzaemon Tsuneyo, a former lord whose family has been reduced to poverty. Prodded by the priest as to his clan affiliation, Tsuneyo reveals that "Kinsmen usurped my lands, and now I live in misery." Despite his wretched state, Tsuneyo offers the priest some steamed rice with millet, and as the night wears on and grows colder, he cuts down his prized potted plum, pine, and cherry trees and uses the branches to start a fire, saying, "...for this night's entertainment." But he recites this line quietly, almost to himself. That is yamato-gokoro. When the Japanese talk about omotenashi, they mean hospitality that does not draw attention to itself, that does not ask to be recognized. Of course, when I perform this Noh play I do it as Kiyokazu Kanze, who lives and breathes in contemporary times. Contemplating the times when the founders of Noh—playwrights Kannami [1333-1384] and his son Zeami [1363-c. 1440]—walked the Earth is constructive to an extent, but it is unreasonable to expect someone in the present to recreate a performance in its original form. I believe that the performing arts must possess the adaptability to keep up with the changing times and the insight to understand the subtleties that unfold therein. 多言語を許容する最先端の能楽堂として 今年7月、世界中の優れた舞台芸術が集うリンカーンセンター・フェスティバルにご招聘いただき、ニューヨークのローズシアターで5日間6公演を大好評の中に上演させていただきました。海外公演は、鑑賞眼の肥えたお客様が多く、日本以上に高い評価を受けることがございます。面を掛けていても場の空気感のようなものがあり、お客様が前のめりで観てくださっている様子が伝わります。彼らは能楽における様式美を愛でてくれます。自分たちにはない世界だからなのでしょう。ニューヨークの人々は能を見事に受け入れてくださいました。 以前、バルト三国のリトアニアで「葵上(あおいのうえ)」を演じた折にも、地謡8人が整然とお扇子を取って、謡を謡い、終わった後にやはり整然とお扇子を置く。その様式美を見て、オペラ歌手でもある文化大臣が「故郷の教会のミサを思い出した」とおっしゃってくださいました。言葉の壁を越えて、自由に能を捉えてくださったのがうれしかったですね。 海外での能公演はオペラのように、字幕を付けるケースが主流です。GINZA SIXでも当初はイヤホンガイドになりますが、多言語対応のためにインフラ設備を整える予定です。さらに新しい能楽堂の重要なテーマである、バリアフリーを積極的に導入したいと思っています。多言語システムを視聴覚障害をお持ちの方のためにも活用するなど、障害者の方が当たり前に、能を楽しんでいただける環境作りを心がけます。また、目付柱の取り外しができることで視覚を広げることができたり、照明設備も従来の能楽堂にはないものを整えたりと、能以外のジャンルの公演にもご活用いただけるように考えています。 新しい能楽堂は、日本の方、海外の方の分け隔てなく、理屈抜きで見ていただける場所でありたい。「事前にお勉強をしないと、能を見れないのかな」と思わないで、まずは足を運んでもらいたいのです。 能の謡(うたい)は、古い言葉です。そこにさらに節が付き、母音が延びる。言葉自体の意味もデフォルメされ、日本人でも聞き取りにくい。だからこそ「どうして舞台の柱は4本なのですか?」などと理詰めで理解しようとしないで(笑)、自由に感性豊かに受け止めてもらえたらと思います。 A State-of-the-Art Nohgakudo With Multilingual Support This past July, our troupe was invited for the first time to the Lincoln Center Festival, an annual event held in New York hosting some of the best performing arts from around the world. There we conducted six performances over five days at the Rose Theater to much fanfare and acclaim. Performances abroad such as these are attended by discerning, theater-savvy audiences, and we occasionally receive greater acclaim than we do in our native Japan. Even from behind a mask I can feel the energy of the room, and I can imagine the audience leaning forward in their seats. They appreciate the beauty of form on display in Noh theater—perhaps because they are witnessing a world that is completely unfamiliar to them. Truly, the people of New York embraced our art. Some time ago, we performed "Aoi no Ue" ["The Lady Aoi"] in Lithuania. There is a part where the ji-utai [the eight-member chorus, who sit in two rows stage left] pick up their sensu [Japanese folding fans] in unison, chant the chorus, and then when they are through, set their sensu back down in unison. The Minister of Culture, who also happened to be an opera singer, later said that the ritual had reminded him of attending Mass back in his hometown. I truly appreciated that he had ventured beyond the language barrier and interpreted what he had seen on his own terms. When performing Noh overseas, we normally feature supertitles to convey to foreign audiences what is happening on stage. At GINZA SIX, we will initially feature English in-ear guidance, with full multilingual support forthcoming. Furthermore, the issue of accessibility, or what we refer to in Japan as barrier-free, is a central focus of the new theater. We will make every effort to provide an environment for guests with disabilities to enjoy Noh—for example, by using our multilingual support system to assist those with visual or hearing impairment. The metsuke-bashira [a pillar placed stage right that serves as a positioning guidepost for dancers] on our stage can be removed to allow for a more unobstructed view, and our stage lighting system is much more adaptable than what you usually find at a Noh theater. We envision our stage being used for performances other than Noh. The new Nohgakudo will be a place where both Japanese and foreign theatergoers alike can imbibe a visceral experience of our art, free of assumptions and expectations of what it is or should be. No need to do research or study up on the subject matter beforehand—come in fresh, and ask questions later. Noh recitations are in a very old form of Japanese, and syllables are sung to a fushi [melody, or aria] with long vowel sounds. The meaning of the words are often not meant to be taken literally, rendering the poetry all but indecipherable to even native Japanese. All the more reason why we advise against trying to understand our plays and performances on a purely intellectual level. Why are there four pillars on stage? You're missing the point! (Laughs.) Come in with an open mind and heart, and let your emotions be moved. 新しい能楽堂が理想とする風景 私はワーグナーが大好きで、一昨年、家内と一緒にバイロイト音楽祭に伺いました。ワーグナーだけを演目とする有名なフェスティバルなのですが、ワーグナー自身が設計して1876年に完成した木造の祝祭劇場のあらゆる素晴らしさに圧倒されました。 バイロイトの閑静な丘の上にあって、そこに向かってなだらかに上がってゆくアプローチを見て、気持ちが高揚します。開演5分前になってもアナウンスもなくて、鐘がささやかにチリンチリンと鳴るだけ。そうするとお喋りをしていた人もなんとなく劇場に入っていく。各扉の係はそこに立っているだけで、大声で誘導もなければ、チケットのチェックもしない。クロークの係はたった一人なのに行列ができない。 つまり、お客様と主催者の関係は、阿吽の呼吸ともいえる成熟されたマナーで、成り立っているわけです。ヨーロッパにしかないスマートさだと思いました。 新しい能楽堂が、このようなサービスをすぐに提供するのは難しいのですが、生の体験に触れることで、心が生まれ変わることを伝えることはできます。GINZA SIXには洗練された食の空間が誕生すると伺っています。素晴らしい体験の後ではワインや食事の味も変わるはずです。 新しい能楽堂は少しでもそんな風景がある場所を目指せたらと思っています。 The Vision for the New Nohgakudo As a devotee of Wagner's music, I could not pass up an opportunity to attend the Bayreuth Festival in Germany with my wife two years ago. The famous music festival— comprised exclusively of performances of operas by Richard Wagner—is held annually at the Bayreuth Festspielhaus, a wooden theater designed by the 19th-century composer himself and completed in 1876. The grandeur of it all was stunning. The theater sits atop a peaceful hill in Bayreuth, and the upward slope of the approach evokes a sense of arriving at a higher plane. Inside, there are no announcements made over the PA system—only the modest ringing of a bell to let people out in the lobby know that the performance will begin in five minutes. And with that, the conversations and chit-chat wind down and the last guests saunter into the auditorium. During all of this, the ushers at each door barely move—they're not shouting out instructions, not even checking tickets. The cloakroom is manned by a single attendant, but there's never a line. Basically, there's an unspoken order to everything, a dignity shared by both the theatergoers and the organizers of the event that puts them in perfect sync. We Japanese have a saying for this: "a-un no kokyuu", but this, I thought, was the kind of savoir-vivre you could only see in a place as cultured and theater-savvy as Europe. It might be some time before our new theater is able to provide a kind of service on that level, but I have no doubt that the raw, immediate nature of our art can inspire, rejuvenate, and even trigger a spiritual experience. And I hear that GINZA SIX will also offer a number of fine dining options in refined settings. After a Noh performance, you can be sure that food and wine will taste all the richer for it. That is my vision for the new Nohgakudo. And this is only the beginning.

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古様な素材を提案することで、一番新しいプレミアムラウンジを

by @ GINZA SIX | ギンザ シックス

杉本博司と榊田倫之とのユニット「新素材研究所」 榊田:日本には1000年以上の文化のなかで培われてきた素材や工法があるのですが、今の時代に建築の仕事をしていると、どうしてもメンテナンスがしやすいものとか、寿命の長い素材をカタログから選ぶという現代的な手法に、一気に転換されようとしている状況を感じずにはいられません。 そんななかで、2008年に現代美術家の杉本博司と共に立ち上げた「新素材研究所」のコンセプトは「古様な素材を提案することが、今一番新しい」という確信を持って、アイロニカルに新素材研究と言っておきながら、実は古様な素材を研究し提案することを設計理念としています。ただ一方で、単純に数寄屋的や社寺的ということではなく、やはり現代の気分というのがあるので、素材や工法は古来であるけれど、納め方は現代的なディテールで構成していきます。 私は20代の多くを京都の建築家・岸和郎のもとで、近代以降の建築の様式や建築家と社会の関わり、建築家としてあるべき姿勢について学ぶことができました。ですから、建築家としての自分の骨格自体は岸に作ってもらえたと思っています。一方でアーティストでありながら若い頃から古美術商としてのキャリアも経てきた杉本と出会うことによって、日本の文化をエッセンスとして組み込めるようになったわけです。 杉本自身、私と共に新素材研究所を立ち上げるまでは、建築もインテリアも本人が現場に立ち会い、言わばセルフビルドでやってきていました。アート作品同様、そのコンセプトは非常に明解です。ただ、今回のGINZA SIXのように仕事として時間も予算も限りがあるとなったとき、杉本のパートナーとして、彼の主題やアプローチをどう解いて、空間に落としていくか。新素材研究所では、杉本と私がお互いにそんな明確な役割を持って、設計活動に取り組んでいます。 Hiroshi Sugimoto and Tomoyuki Sakakida Join Forces at New Material Research Laboratory Japan has specific materials and construction techniques that have been cultivated over a millennium, but in this day and age, you can't help but notice that the architectural zeitgeist is shifting towards the contemporary practice of methodically browsing through a catalogue for materials that are as maintenance-free and long-lasting as possible. Amid this shift, in 2008, artist Hiroshi Sugimoto and I established the New Material Research Laboratory (NMRL) with the philosophy that "The materials of the past provide a breath of fresh air today". So "New Material" is used ironically, as our focus is on researching and imagining novel uses for the materials that were used in ancient and medieval times. But that does not mean our designs are directly based on sukiya-style or the architecture of shrines and temples. We live in a contemporary age, after all, so while our techniques and materials may be from a past age, the design solutions that ultimately result consist of contemporary ideas and details. I had the privilege of working under the Kyoto-based architect Waro Kishi for most of my twenties, an environment that undoubtedly forged my instincts and my disposition as an architect. Kishi taught me about modern architectural styles, the role of an architect within society, and what an architect ought to be. And then meeting Sugimoto, an artist and someone who has had a distinguished career as a dealer of Japanese antique and folk art, has brought a new dimension to my work and showed me how to incorporate the essence of Japanese culture into what I do. Sugimoto himself, prior to creating NMRL with me, had already been dabbling in a number of architectural and interior design projects. Like his art work, his designs have a clear concept. With GINZA SIX, however, we were on a timeline and a budget. It was my job as Sugimoto's partner to interpret his themes and approach, and then translate them into interior design. At NMRL, we each have a clearly defined role to play in the projects we take on. プレミアムラウンジ「LOUNGE SIX」のポイントは「素材」 GINZA SIXでは建築ではなく、プレミアムラウンジである「LOUNGE SIX」のインテリアデザインを手がけていますが、新素材研究所のテーマからぶれずに「日本的なものと現代をどう再編集していけるか」という感覚で空間を解いています。一番のポイントはやはり「素材」に尽きます。 エントランスで顧客の方々を迎えるのは横幅10メートルにもなる、黒漆喰による外壁です。下塗りまでは複数の職人を入れてやるのですが、フィニッシュは熟練の左官職人が一気に仕上げます。黒漆喰はコテの押さえ方によって色のムラが抽象絵画のようになったり、職人の手技を感じてもらえる見せ場になるはずです。 そこから、大正時代に看板建築などに使われたブリキを貼った鉄板の扉を入ったレセプションフロアの床には、1912年から78年まで京都を走っていた市電の下の"電石"を敷きつめました。言ってみればアンティークなのですが、集めていかないと数が揃わないので、「見つけたら、とにかく買う!」。他の建築事務所とスキームが決定的に違うのは、そういうところだと思います。 レセプションエリアの奥にあるメインルームは、開口部の少ない空間で買い物をされた顧客の方々に開放感を感じてもらいたいと思い、自然光が入るようお願いをしました。結果、大きな面にわたる窓には、新素材研究所のシグネチャー的な意匠でもある縦桟(たてざん)の障子を配しています。 また、「LOUNGE SIX」に併設する個室との境は引き戸にして、杉や檜など針葉樹の仲間である鼠子(ネズコ)の木のへぎ板を、胡麻竹(ゴマダケ)で上から押さえたディテールをあしらいました。へぎ板とは木のブロックに刃を入れて目に沿って裂いたものを差しますが、よく茶室の天井などに使われる素材で、今は買う人間がいないので、職人がほとんど残っていません。胡麻竹は茶室のにじり口などに使われる素材です。いずれも日本的なスケールで使われてきた素材を、現代のスケールに合わせて使っています。 LOUNGE SIX, Where the Materials Take Center Stage For GINZA SIX, we designed not the architecture, but the interior of its premium lounge, LOUNGE SIX, which allowed us to explore a central theme of NMRL: "reimagining Japanese-ness for a modern world". It all comes down to the materials, plain and simple. Guests will be welcomed at the entrance by a ten-meter wide facade with a kuro-shikkui [black shikkui plaster] finish. Everything up to and including the undercoat plaster was done by multiple craftsmen, but the finishing coat had to be applied at once by a master plasterer. With kuro-shikkui, differences in pressure applied with the trowel create a mottled appearance not unlike abstract painting—this display of craftsmanship at the entrance is the first highlight. From there, guests enter through a door plated with tin previously used for what they called "signboard architecture" [where traditional wooden townhouses were given a facelift by erecting western-style facades that resembled signboards] and the like during the Taisho Era [1912-1926], and find themselves in the reception area. At their feet is stone flooring comprised of denseki [literally, "tram-stones"] that were originally used to pave the ground beneath the tracks of Kyoto's municipal tram, which operated between 1912 and 1978. These stones are essentially antiques that we had to seek out and buy on the spot in order to put together the number we needed—we have to keep an eye out for this kind of stuff at all times. As I said, our methods and techniques can be unorthodox, but this is what sets us apart from other architectural firms. Beyond the reception area is the main room, which we designed to let in as much natural light as possible to provide our shopping guests with a sanctuary of sorts, away from the retail floor, which has less natural light in comparison. For the wall-spanning window, we've added one of NMRL's signature designs: a special type of shoji screen with framework composed of vertical bars. Sliding doors separate LOUNGE SIX from a number of private rooms. We added hegi-ita detailing using thin strips of Japanese arborvitae—an evergreen tree belonging to the conifer family that includes cedar and Japanese cypress—held down with gomadake bamboo. Hegi-ita is made by splitting lumber along the grain using an edged tool, and was traditionally used in the ceilings of tea ceremony rooms and the like, but nowadays there barely exists a market for such a material, and consequently there are only a few craftsmen left who can do this kind of woodworking. Gomadake bamboo is a material that is used mainly for the nijiriguchi [a small, crawl-in entrance to a tea ceremony room]. In both cases we've taken a material used in traditional Japanese proportions and adapted them on a modern scale. ほとんど特注デザインの家具はユニークさを追求 家具に関しては、ほとんどを特注でデザインさせていただきました。ラグジュアリーなラウンジとなると通常はイタリアの高級家具が置かれていて、シートが深めで、フェザーが入っていて座り心地がいいというパターンなどが少なくないと思うのですが、今回大事にしたかったのはユニークさです。 メインルームに置かれる「ヘリコイドソファ」は、やはり新素材研究所がインテリアと家具を手がけた表参道のカフェ『茶洒 金田中』の「ヘリコイドチェア」がヒントになりました。「ヘリコイドチェア」は、杉本の作品に三次関数の数式を表現した明治期の数理模型と機構モデル群を撮影した写真シリーズがあって、その螺旋(ヘリコイド)を描く模型から関連付けた片肘タイプの椅子です。「ヘリコイドソファ」ではこれをもう少しゆったりとしたサイズで、文字通り、ソファとしてデザインしています。 さらに、2015年に惜しまれながら取り壊されたホテルオークラ東京の本館ロビーにあったテーブルセットもヒントにしました。上から見ると椅子が梅の花びらのように見立てられていたのですが、「ヘリコイドソファ」も丸テーブルとセットになったとき、どこか花のような印象を与えるように意識しています。ただ、現代人のシートハイトに合わせて、足元をスレンダーにしてソファ部分にボリュームを持たせるなど、プロポーションには現代的なエッセンスを入れました。脚の素材には宣徳(セントク)メッキと言って、ふすまの手かけなどに使われる素材を使いました。研究所では古い風合いの色を愛でて"古美色(こびしょく)メッキ"と呼んでいますが、これも職人が少なくなっている技の一つです。 そんな総じて空港にあるようなVIP向けのラウンジとは全く違うアプローチの空間が、顧客の方々の目に新鮮に映ってくれることを願います。 A Unique Arrangement of Custom-Designed Furniture As for the furniture, we decided to custom design practically all of it. When you picture a luxury lounge, you usually think of luxury Italian furniture, you know, deep-seated sofas with feather-stuffed cushions and so forth. But for GINZA SIX, we wanted to go for a more unique approach. In the main room are Helicoid Sofas, which are direct cousins of the Helicoid Chairs we designed for the Sahsya Kanetanaka cafe in Omotesando. The Helicoid Chair is a chair with a helix-shaped backrest that takes its inspiration from a series of photographs taken by Sugimoto of "stereometric exemplars", that is, mechanical models and sculptural renderings of mathematical models purchased from the West during the Meiji Era [1868-1912]—specifically, the spiral-shaped "helicoid" sculpture. The Helicoid Sofa is a slightly larger, more inviting lounge chair version of that. We also took inspiration from the round tables and chairs that graced the main lobby of the regrettably demolished Hotel Okura in Tokyo. When seen from above, the round table and the chairs surrounding it were arranged to resemble a plum blossom in full bloom. Similarly, the round tables and Helicoid Sofas in the GINZA SIX lounge were designed to evoke the image of a flower when arranged together. Of course, we've adjusted the seat heights to accommodate a variety of statures, made the leg area less bulky, made the seat cushions more plush, and gave the overall proportions a modern update. We've applied sentoku plating to the legs—sentoku is a kind of yellow bronze used for fusuma handles [typical fixtures in traditional Japanese-style houses used as sliding doors or room dividers]. At NMRL we affectionately refer to this material and its aged texture as "kobishoku plating" [literally, "beautifully aged color"]. Yet another example of a technique with an ever-dwindling number of master practitioners. All in all, we've taken a much different approach than your standard airport-style VIP lounge. It is our sincere hope that we have created a novel space for our guests to sit and relax. (2016年9月インタビュー) Interview and Text by Yuka Okada / Photographs by Daisuke Akita 銀座遠望 杉本博司 私の実家は戦前銀座二丁目で創業した銀座美容商事という美容品を扱う問屋を経営していた。戦後は御徒町に移ったが、銀座は子供の頃から慣れ親しんだ街だった。母親とは時々不二家の洋食を食べにいったが、週末は着飾って家族でニュートーキョーの中華料理を食べに行った。ニュートーキョーの窓辺から眺める数寄屋橋下の水面に移るネオンの輝き、今は首都高に覆われその風情は無い。私がアーティストとして頭角を初めて現したのも銀座だった。小学校4年の時、私は銀座松坂屋の屋上から服部時計店方面を見た絵を描き、子供絵画コンクールに出品したのだ。その絵は見事入賞を果たし、世界巡回展に展示され、そのまま帰って来なかった。コンクール授賞式は護国寺近くの講談社本社で開かれ、私は晴れの表彰状を受け取ったのだが、私はその時、その大名庭園風の庭に感銘を受けたのだ。私は大人になったらいつかこんな庭を造ろうと思った。模型少年だった私は、その庭を巨大な自然を模した模型だと思ったのだ。その後私は同じ世界の模型化である写真へと興味の対象を移していくことになる。その庭も首都高6号線となって消えてしまった。こうして私が思いでの地の一画に再びアーティストとして関れるのも不思議な因縁で、私は先祖帰りしたような気分でいる。 銀座は土地柄が美人だ。その地へと赴くとき、人々は着飾って出かけた。美人に厚化粧は向かない。素肌にうっすらとひと刷の白粉(おしろい)。これがこの度のGINZA SIXの化粧方針だ。「New Luxury」とは豪華を隠すことだ、豪華さをひけらかすことが20世紀までの豪華の世界スタンダードだった。しかし我が国の伝統的な価値観ではそれは「野暮」と称されてきた。利休のいう「名馬を藁屋に繋ぎ止めたる風情」これが「粋」というものだ。粗末な茶室で名椀を使う、というのもこの感性の延長線上にある。しかしここで重要なのは粗末を装いながら実は手の込んだ造作を演出する点にある。いわば金持ちが貧乏人を装う、この美意識は転び様によっては洗練か嫌みの境界線上にある。名人が危うきに遊ぶように、時代の新しい感性は常に反動の揺り戻しに晒される。 銀座の土地柄を美人に保ち続けること、それも日本の伝統的な美意識に則って。これが私達に課せられた使命だ。 Text by Hiroshi Sugimoto A View over Ginza Before the war our family home was in Ginza 2-chome where we had a beauty products wholesale business called Ginza Beauty Trading. The business moved to Okachimachi after the war, but I was still very familiar with Ginza from childhood. Now and again my mother took me to Fujiya for Western food, while at the weekend the whole family would get dressed up and go to the New Tokyo for a Chinese meal. The gleaming neon reflections on the water beneath the Sukiyabashi Bridge that I could see from the restaurant's windows are gone now that the canal has been covered over by the Shuto Expressway. It was also in Ginza that I achieved prominence as an artist for the first time. In my fourth year at primary school, I painted a picture looking from the roof of Matsuzakaya department store towards the Hattori watch and jewelry store and entered it into a children's art competition. To my surprise, the picture won a prize, whereupon it was sent off on a world tour—from which it never returned. The prize ceremony was held at the offices of the publisher Kodansha near the Gokokuji Temple. They presented me with a magnificent certificate, but what really impressed me was their formal Japanese garden, which seemed worthy of a feudal lord. "When I grow up, I want to make a garden like this," I thought. As a boy, I loved making models and I saw the garden as a scaled-down model of far larger nature. Later, my interest was to shift to photographs, another "modelized" version of the real world. That garden too has gone, replaced by Route 6 of the Shuto Expressway. By a twist of fate, I find myself once again involved as an artist with a piece of land that is so rich in memory for me. It feels like an atavistic reversion. As a district, Ginza's character is that of a beautiful woman. Everyone who goes there decks themselves out in their finest clothes. Heavy makeup, however, does not become a true beauty; far better is a light dusting of face powder. GINZA SIX shares this cosmetic philosophy. Concealing luxury is the new luxury. Flaunting it was standard practice worldwide until the end of the twentieth century. According to Japan's traditional values, however, that is mere boorishness. Japanese-style iki, or chic, consists, as Sen no Rikyu said, in "tying a fine horse to a thatched house." Drinking tea from an exquisite bowl in a rustic tea house is an extension of this philosophy. The important thing is to create a pretense of coarse rusticity while deploying the most refined utensils. This esthetic, which is like a rich person trying to pass themselves off as poor, can find itself teetering on a knife-edge between the offensive and the sophisticated. Still, the master practitioners of any art are always drawn to danger and the sensibilities of a new age are invariably exposed to reaction's backlash. Text by Hiroshi Sugimoto

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bareMinerals | Stamford Town Center


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Experience the foundation that started the makeup revolution. bare Minerals/ Bare Escentuals has always focused on using only the finest ingredients in its products and this commitment led to the creation of award-winning mineral makeup. Free of any preservatives, fillers, or binders, 100% pure bareMinerals represents the ideal mix of makeup and skincare; problem-solving cosmetics that perfect and pamper the complexion. This is makeup that works with your skin, not against it.

Does Bare Minerals Test On Animals? | 2017 Policy

Does Bare Minerals Test On Animals? | 2017 Policy


Cruelty-Free Kitty

Bare Minerals is a part of Bare Escentuals, which is owned by Shiseido. Here is their animal testing policy, updated for 2017.

【ベアミネラル】GINZA SIX 限定 メイクアップ パーソナルレッスン

by @ GINZA SIX | ギンザ シックス

ベアミネラル専属のトップメイクアップアーティストがお客様1人1人の個性に合わせ、ヘルシーでナチュラル感あふれるメイク方法を伝授します。 懇切丁寧なパーソナルレッスン形式なので翌日からすぐに実践でき、レッスン終了後には価格相当分の製品をお持ち帰りいただけます! ベアミネラル GINZA SIX 限定 メイクアップパーソナルレッスンメニュー 1 BARE BASIC   ベアベーシック 60分   10,260円(税込)~ ベアミネラルを代表するファンデーションを使い、ベースメイクだけでナチュラル&ヘルシーに仕上げるテクニック満載のメニュー。ベアミネラルビギナーズに特におすすめです。 2 BARE PERFECT   ベアパーフェクト 90分   22,680円(税込)~ ベースメイクに加え目元や口元などトータルでナチュラルビューティーに仕上げるテクニックを随所に盛り込んだフルメイクメニュー。メイクアップの前にはミネラルと植物の恵みを贅沢に配合したスキンケアで肌を解放し内外からヘルシービューティーを満喫していただけます。 3 BARE MAGIC   ベアマジック 30分   4,320円(税込)~ 小顔効果抜群!1人1人の骨格に合わせ天然のハイライトを生かしたナチュラルな立体感を作る簡単テクニックをお伝えします。 完全予約制 開催日:9月24日(日) ご予約、お問い合わせは 03-6263-9977

13 bareMinerals Coupons & Promo Codes Available - September 25, 2017

13 bareMinerals Coupons & Promo Codes Available - September 25, 2017


Valpak

bareMinerals Coupons and Deals including: 15% off any purchase, 20% off any purchase, 15% off all orders with Friends and Benefits Program Sign Up, Refer a Friend and Get 15% off, Free Shipping on orders over $50, Free 3 Eyeshadows on orders over $60 plus Free Shipping, Special Offers: Up to 20% plus Free Gift on Select Items

Beauty Review: Is Everyday Minerals a Non-Toxic and Eco-Friendly Alternative to bareMinerals? - Ecocult

Beauty Review: Is Everyday Minerals a Non-Toxic and Eco-Friendly Alternative to bareMinerals? - Ecocult


Ecocult

Last month when I was wandering the floor at Natural Products Expo West, I stopped by a booth for a makeup company called Everyday Minerals. I was curious, because I’ve been using bareMinerals for some time, and had an inkling I should find a replacement. bareMinerals isn’t so toxic, but I feel like there is always room for improvement, right? Sign Up for EcoCult’s Newsletter The very nice girl working the booth told me that Everyday Minerals is indeed less toxic than bareMinerals, and that her skin had actually cleared up after she made the switch. Intrigued, I took home some samples to try for myself. Here’s what I found: The Price Everyday Minerals is very much cheaper than bareMinerals. For example, BM’s concealer costs $18 while EDM’s costs $9. However, it might be worth paying for the built-in SPF broad spectrum protection you get in bareMinerals products. Winner: Everyday Minerals by a mile The Look When I tried on Everyday Minerals, I felt that I had a healthier, more fresh and shimmery glow. And their concealer gave me as much coverage over blemishes and under-eye circles, without the heavy, powdery look. Winner: Everyday Minerals The Ingredients As far as ingredients, let’s start …

bareMinerals Reviews - Is it a Scam or Legit?

bareMinerals Reviews - Is it a Scam or Legit?


HighYa

The bareMinerals makeup line claims to use natural, nourishing, skin-loving ingredients to help you look naturally beautiful, even if you have sensitive skin.

bareMinerals at Chesterfield Mall

bareMinerals at Chesterfield Mall


Chesterfield Mall

Since 1976, Bare Escentuals has been offering a San Francisco perspective on treating your skin, your hair and yourself. Botanical-based products available for complete pampering experiences from your head down to your toes.

Real or FAKE Bare Minerals

Real or FAKE Bare Minerals


eBay

Bare Escentuals does NOT sell on ebay.  Go to their website.  ebay is NOT listed as an authorized outlet!!!!  People on ebay that run  "Stores" are NOT legitimate no matter now they say they are or how...

bareMinerals

bareMinerals


theknot.com

I found this great wedding vendor on The Knot!

BareMinerals GINZA SIX 限定 メイクアップパーソナルレッスン

by @ GINZA SIX | ギンザ シックス

ベアミネラル専属のトップメイクアップアーティストがお客様1人1人の個性に合わせ、ヘルシーでナチュラル感あふれるメイク方法を伝授します。 懇切丁寧なパーソナルレッスン形式なので翌日からすぐに実践でき、レッスン終了後には価格相当分の製品をお持ち帰りいただけます。 ベアミネラル GINZA SIX 限定 メイクアップパーソナルレッスンメニュー 1 BARE BASIC ベアベーシック 60分 10,260円(税込)~ ベアミネラルを代表するファンデーションを使い、ベースメイクだけでナチュラル&ヘルシーに仕上げるテクニック満載のメニュー。ベアミネラルビギナーズに特におすすめです。 2 BARE PERFECT ベアパーフェクト 90分 22,680円(税込)~ ベースメイクに加え目元や口元などトータルでナチュラルビューティーに仕上げるテクニックを随所に盛り込んだフルメイクメニュー。メイクアップの前にはミネラルと植物の恵みを贅沢に配合したスキンケアで肌を解放し内外からヘルシービューティーを満喫していただけます。 3 BARE MAGIC ベアマジック 30分 4,320円(税込)~ 小顔効果抜群!1人1人の骨格に合わせ天然のハイライトを生かしたナチュラルな立体感を作る簡単テクニックをお伝えします。

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