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世界的な現代アーティストの作品と、商業空間の相乗効果を発揮

by @ GINZA SIX | ギンザ シックス

GINZA SIXで展開するパブリックアート 銀座というのはやっぱり日本の顔、特に商業の顔じゃないかと思っています。そこにGINZA SIXという商業施設がオープンするというのは、日本の新しい顔ができるということ。しかも建築を谷口吉生さんが設計するとなれば「この国の最高のクリエーターたちが関わって、GINZA SIXを作りました」という姿勢が必要です。 そのときに打ち出すアートは奈良や京都に代表される伝統的な日本というより、まずはクリエイティブなイメージを持った新しい日本を感じさせるものではないかと思いました。GINZA SIXは建築もインテリアデザインも、日本というものを意識してはいますが、あくまでコンテンポラリーなテイストです。一方で、銀座は1960年代から現代美術を扱うところも含めて多数の貸し画廊が増えて、今ではギャラリーが集う街ともいえる。 そう考えたとき、GINZA SIXの中央の吹き抜けに展開するメインのアートは、世界の現代美術シーンで日本の顔になっている方の作品がふさわしいだろうと思い、草間彌生さんにお願いしました。新作を作ってもらい新鮮さを出しながら、日本らしさも感じさせるものにならないかなというのがこちらの思惑です。ちなみに、この吹き抜け部分のアートは不定期で入れ替えていく予定です。 商業とデザインは相性がいいですが、商業とアートはそれほどコラボレーションのチャンスがなかった。それに、あまりアートがとんがりすぎていると受け入れられない。でも、ある程度とんがっていなきゃアートをやる意味がない。なぜなら無難な作品になると、それこそデザインの一部に見えてしまいますよね。GINZA SIXではそうしたアートと商業空間のバランスと相乗効果にも注目してもらえたらと思います。 ちなみに「アート&ライフ——現代アートをより身近なものに」は森美術館のモットーでもあるのですが、私は生活の中にアートがあまねく行き渡るのが理想ではないかと思っています。アートが富裕層のためだけのものではなく、一般の人たちも気軽にアートを購入でき、それが日常生活の中にあるというイメージです。素敵ですよね。それこそが豊かな生活といえるのではないでしょうか。 そういう意味で、今回のGINZA SIXのように商業施設のなかにもアートがあって、なおかつアートがその施設の活動に貢献するのは理想的だと思います。さらにその施設の性格を象徴的に表していくような、アートならではのメッセージ性を演出できると、素晴らしいと思います。 Public Art at the Heart of GINZA SIX It is my opinion that Ginza is the face of Japan—more specifically, the glitzy face of commerce and retail shopping culture. As such, the opening of a shopping mall like GINZA SIX is the unveiling of a new face for Japan to present to the world. All the more when you have someone of Yoshio Taniguchi's caliber designing your building. You start to realize the gravity of the undertaking: GINZA SIX is truly the result of the greatest creative voices in Japan coming together. When it came to deciding on a direction for the art that would take center stage at this new landmark, I felt we should go for something that spoke to the creativity associated with modern-day Japan rather than the traditional Japanese aesthetic embodied by places like Nara and Kyoto. Of course, "Japan" was a conscious theme for GINZA SIX both in terms of the architecture and the interior design, but we've gone for a wholly contemporary look and feel. At the same time, we were also very aware that Ginza has become an art gallery hub of sorts, with the number of contemporary art dealers and rental gallery spaces steadily increasing since the 1960s. All of this meant that the centerpiece that was to grace GINZA SIX's central atrium should be designed by someone who was the face of Japan in the international contemporary art scene—which is why I approached Yayoi Kusama for the job. By bringing her talents on board, I was confident that the result would be utterly fresh and inspiring while simultaneously retaining a uniquely Japanese essence. Incidentally, this atrium art piece is not intended to be permanent, and new centerpieces will be unveiled at irregular intervals. The words "commercial" and "design" have gone well together; but the relationship between commercialism and art has always been much more contentious. The problem is, the more outrageous a work of art is, the less people get it. On the other hand, what is the point of art that isn't challenging on any level? The more you play it safe, the more obvious it becomes as a product of design. For GINZA SIX, I think we've succeeded in finding that great balance between art and a retail shopping space, where both feed into one another in a beautiful way. I'm excited for people to come and see for themselves. Incidentally, the Mori Art Museum's motto is "Art + Life—Making contemporary art more accessible," and likewise I believe that art should be ubiquitous in our lives. Art should not just be for the wealthy. It should be readily accessible and affordable to everybody—a regular presence in all of our lives. Just imagine it. After all, isn't that what we mean when we talk about an "enriched society"? In that regard, GINZA SIX is a prime example of how I believe a shopping mall should be: art at its core, serving as both the heart and the lifeblood that illuminates its environment. And if that art can encapsulate the personality of the facility, if it has a message to convey as only art can, it will take on a life of its own wonderfully. 銀座の街をめぐる記憶 1970年代、並木通りに「レンガ屋」という、当時最高と言われたフレンチレストランがありました。大学生の頃、その上階にある出版社の『トラベルタイムズ』という旅行雑誌の編集部で2年くらいアルバイトをしていました。社長がそのレンガ屋で食事をしながら、エアラインやホテルや旅行業界の外国人にインタビューをするんですが、僕はそこに同席してメモを取って、写真を撮って、通訳までしなくちゃいけなかった。それをしながら、フランス料理のフルコースを全部食べなきゃいけないわけで、振り返ると、すごいテクニックですよね(笑)。それが銀座の思い出。 一方、大学時代からの友人には銀座の老舗の旦那たちがいて、明治以降の東京の商人文化を担ってきた彼らは、銀座に今も誇りをもっていますよね。ブランドショップが居並ぶようになった今も「ここは俺たちの町だ」という想いをもっています。また先日、銀座のイベントに呼んでもらって話す機会があったとき、関係者から「銀座はもともと島だったんですよ」と聞かされました。1964年の東京オリンピックのために周りの運河を埋めてその上に高速道路を作る以前、今は地名でしか残っていない「数寄屋橋」「新橋」「京橋」などは、実際に銀座と外を結ぶ橋でした。 たった50年前までは島でもあった銀座。そんな土地の独自の記憶も決して埋もれさせてはいけないように感じています。 The Heritage of Ginza Back in the 1970s, I spent a couple of years as a university student working part time on the editorial staff of a travel magazine called Travel Times. The publisher's offices were located up in a building along Namiki-dori [which runs parallel to Ginza's main shopping thoroughfare Chuo-dori], and below us was a French restaurant called Renga-ya, which at the time had established a reputation as Tokyo's pinnacle of fine dining. The CEO would interview foreign guests from the airline, hotel, and travel industries for the magazine over a meal there, and it would be my job to accompany him to take notes, photos, and even act as an interpreter—all in addition to scarfing down a full-course meal. In retrospect, I was quite the multitasker (laughs). That's one of my fondest memories of Ginza. A number of friends from my university days have gone on to take over long-established, family-run Ginza shops—institutions, really. These are men who have been cultivating Tokyo's merchant culture for generations stretching back to the Meiji Period [1868-1912], and for them, Ginza remains the pride of Tokyo. Even now when high-fashion brand boutiques line the streets, they still consider Ginza their town. On a similar note, the other day I was invited to attend an event there, and I was speaking with one of the organizers, who explained to me that Ginza used to be an island. The areas we now call Sukiyabashi, Shinbashi, and Kyobashi—these names originally referred to bridges that connected Ginza to the mainland [bashi, or hashi, means "bridge" in Japanese]. The city filled in the surrounding canals and built an elevated highway in the lead-up to the 1964 Tokyo Olympics. Ginza was an island just a half century ago. I feel that we have an obligation to keep this land's unique heritage alive. GINZA SIXが掲げる「New Luxury」について思うこと 今の時代、ラグジュアリーというものが物ではなく、体験に変わってきています。僕の知り合いが数年前、お客様が持ち込んだギフトを室町時代から続く日本の伝統的な贈り物の作法「折形(おりがた)」で包むサービスを提供する『MIWA』という店を、パリにオープンしたんです。サンジェルマン・デプレの裏通りに暖簾が掲げられていて、小さな店内に入ると床の間があって、ヒノキの一枚板でできたカウンターがある。彼は、着物を着て出てきて抹茶を点ててくれるのですが、僕が訪れた時に客がいた試しはない。それでも続いている。 いったい、どうなっているのか聞いてみたら、ラグジュアリーブランドの企画に携わる人たちが「どう体験をデザインするか」について話を聞きたいと彼を訪ねて来る。それが仕事につながっている。 アートにも今後、物としてではなく、特別な体験を提供する役割が求められていくんじゃないかなと思います。 Thoughts on GINZA SIX's "New Luxury" Concept These days when we talk about luxury, we refer less and less to material things and more and more to experiences. A few years ago an acquaintance of mine opened a shop in Paris called MIWA, which specializes in gift wrapping using a traditional Japanese method known as origata [where a single sheet of handmade paper is used with no scissors, tape, or glue] that has been practiced since the Muromachi Period [1336-1573]. It's a quaint little shop nestled on a side street in Saint-Germain-des-Prés, with a tokonoma [an alcove in a Japanese-style reception room for displaying a flower arrangement or other piece of art] by the entrance and a counter made up of a single slab of Japanese cypress. My acquaintance welcomes customers in a kimono and even prepares and serves them matcha [powdered green tea]. But the thing is, I've stopped by a number of times, and each time I never see anyone in there. Yet somehow he doesn't go out of business. When I finally asked him how he was making ends meet, he told me that planners and strategists from various luxury brands come to him for advice on how to design customer experiences. He's essentially a consultant for hire. That's just one example of how people are beginning to look to art not as an object to ponder over, but as something that provides a lasting experience.

Xcel Energy Headquarters HQ Office Address, Phone Number, Email ID

by 1800customercare @ 1800 Customer Care Service Number

Xcel Energy Headquarters HQ, mailing and postal office address is given with the Xcel Energy contact telephone number, fax number and email address. Xcel Energy headquarters HQ and customer service department provides help and support to the customers during the […]

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by writer1997 @ Toll Free Phone Number 800

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This Just In: bareMinerals Brilliant Future Age Defense and Renew Eye Cream

This Just In: bareMinerals Brilliant Future Age Defense and Renew Eye Cream


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これまでにない空間の力で、銀座の新しいスタートポイントに

by @ GINZA SIX | ギンザ シックス

商業施設を考える3つのポイント 今回のような商業施設のプロジェクトには3つのポイントがあると思います。一つは空間にアイコニックなエレメントを作らなければならないこと。例えば、今の時代はフォトジェニックだけでなく、メディアジェニックも大切です。施設を訪れた人々が写真を撮るときに「ここはGINZA SIXだね」と一目でわかる場所が必要で、パリの街で言えば、エッフェルタワーみたいなものですね。GINZA SIXでは2階の大きな吹き抜けのアトリウムをアイコンに据えています。 二つ目は、さまざまなストーリーボードを作ってシミュレーションをすることで、空間のなかの人の動きをデザインすること。ある場所からある場所まで何分かかるのか。その場合、エレベーターはもう一基必要ではないか。このあたりで光に出会いたいので、吹き抜けを設けようか…。空間のエネルギーが自然と循環し、人間の感情や身体感覚に対してストレスのない空間であること。ここは建築家とのコラボレーションが必要な部分でもあります。 最後の三つ目は、ダイナミックな空間とリラックスできる空間という緩急を設けること。商業施設で買い物をするスピードは人によって異なります。GINZA SIXではほっと一息付ける空間として、オリジナルでデザインしたソファをコクーンのようなプロポーションにし、背後に木の屏風を置いて、インティメートな空間を作り出しています。 一方で壮大なスケールのフロアが単調にならないように、銀座の裏に残る小さな路地などをイメージし、ショップが並ぶ通路をジグザグにデザインしました。そのジグザグによってすべての店に角が生まれ、通常の商業施設のように一つの通りを直線的に見渡せないことで、まさに路地の通りを歩きながら一つ一つの店に出会う高揚感を味わうことができるようになっています。 The Three Essential Elements of a Shopping Mall When it comes to designing a shopping mall like GINZA SIX, I believe there are three essential elements. One is the need for an iconic element within the space. Namely, in this day and age, it is important to be not only photogenic, but media-genic as well. Much like when people visit Paris they take the obligatory Eiffel Tower photo, you need something instantly recognizable as GINZA SIX that guests will naturally be inclined to snap a picture of. At GINZA SIX, we've positioned the large four-story atrium on the second level as our central picture-worthy attraction. Second is to design the flow of people through the space using storyboards to simulate various scenarios. How many minutes does it take to get from point A to point B? Wouldn't it be easier if there were another elevator there? I'm thinking people will want to encounter some sunlight right around here—how about we make this an atrium?...It's absolutely key that the energy of the space flows naturally, and that no physical or emotional stress is placed on the guests. This part involves working together with the architect. The third element is to provide variation: dynamic shopping experiences as well as areas of calm to sit down and relax. It's important to remember that everybody browses and shops at a different pace. For GINZA SIX, we've created an intimate premium lounge where guests can catch their breath, complete with custom-designed sofas that are so comfortable it's as if you were being wrapped in a cocoon, and a backdrop of wooden byobu [decorative multi-panel folding screens that serve as room partitions]. Also, in order to impart a sense of wonder on guests as they walk through the spectacular retail levels, we've set up the walkways in a zigzag orientation, evoking Ginza's narrow side streets and back alleys that remain to this day. The zigzags give each store a corner that faces out into the walkway—which means that unlike your standard inline shopping mall where you have a straight line of sight from one end to the other, guests naturally come face to face with each store as they walk around, and this creates a feeling of excitement about what could be around the next corner. 第一に誰のための空間であるべきか GINZA SIXは世界中から人々を招き入れる、インターナショナルな商業施設になると思います。ただ、インテリアには日本のエッセンスを入れたかった。外から来る方々を意識するのは大切ですが、まずは日本に住む私たちや自分の家族が喜べる空間を作りたかったのと、そこからズレてはいけないように思いました。 例えば日本の建築では障子や行灯でふんわりとした光を行き渡らせる工夫がなされていますが、GINZA SIXでは吹き抜けのアトリウムの天井に3Dの和紙をあつらえて、トップライトから落ちる自然の光を優しく透過し、その光が全体に回るようにしています。階段の手すりにはルーバーを用い、竹をイメージした格子をあしらいました。 空間を引き締めるクラフツマンシップをどう見せるかにもこだわりました。できるだけハンドメイドの素材を使うようにして、一部のエレベーターホールの壁はアルミの表面をテクスシャーのあるラッカーで仕上げています。ショップが並ぶ通路の壁にはポイントごとに職人による和紙を使用しました。こうした素材のレイヤーやクオリティでどう空間を見せるかは、GINZA SIXに限らず、私のすべてのプロジェクトに通じるデザインのポイントでもあって、日本のデザインもやはりレイヤーとクオリティで成り立っているとも言えます。ただし、今回は壮大なスケールのGINZA SIXが大きな工場のような印象を与えないために、そのバランスに気を配っています。 GINZA SIXが掲げる"New Luxury"というのも「これがすごいよね」と一点で語られるものではなく、あくまで全体を通して感じるものではないでしょうか。インテリア以外にも、建築があって、グラフィックがあって、アートがあって、能楽堂のような文化もあって、自然が感じられて、ホスピタリティがあるということ。逆に言うと、高級旅館であってもビジネスホテルであってももしかしたら大差はなくて、全体のバランスがよければ、「どちらもすごいね」ということになるのだと思います。 Who Should the Space Be For? I believe that GINZA SIX will become an international shopping mall that will attract guests from around the world. But in spite of that—or maybe even because of that—I wanted to imbue the interior design with the essence of Japan. While it is important to keep in mind that many of our prospective patrons will be from outside of Japan, my first priority was to design a space that our team of designers, our families, and those of us who live here in Japan would enjoy coming to. It was critical not to lose sight of that. For example, in Japanese architecture, you use fixtures like shoji [sliding screens made of translucent paper over a wooden frame] and lanterns to diffuse light throughout a space. At GINZA SIX, I had 3D washi [a Japanese style of paper commonly made using fibers from the bark of mulberry trees, paperbush, and Gampi trees] incorporated into the ceiling of the atrium in order to diffuse the natural light coming through the skylight and bathe the retail levels in gentle light. And for the staircases we've installed louver railings with latticework designed to resemble bamboo. I was also very particular about how attention to detail and touches of craftsmanship are used to bring the space together. Wherever possible, I integrated handmade and handcrafted elements. A number of the elevator hallways, for example, have walls covered in aluminum with a lacquer finish. And along the walls of the main walkways, you'll come across creative use of washi made by an expert papermaker. Using layers of design and the unique qualities of individual materials to bring a space to life—this has always been a central characteristic of my work, and GINZA SIX is no exception. And you can say that the use of layers and qualities are the foundation of Japanese design as well. So with a space as grand as GINZA SIX, it was important to achieve a balance between the two, so that it didn't end up feeling like some large industrial factory. GINZA SIX's vision of "New Luxury" is not something that draws attention to itself, not something you can pinpoint; rather, it's an aesthetic that permeates the entire undertaking from top to bottom. It applies not only to the interior design, but the architecture, graphic design, and artwork on display, as well as the Noh theater and other cultural attractions, greenery, and, of course, the service and hospitality. To put it another way, New Luxury is not about what or how much you do with a space, but whether or not what you do is right for the space. In that sense, whether you were to choose to spend the night at a high-end ryokan [traditional Japanese inn] or a business hotel, one experience is not necessarily more "luxurious" than the other, because it's a question of overall balance and the thought put into it. Again, not what or how much you can do for your guests, but whether or not what you do is right for your guests. 商業施設に必要な最後のレイヤー 私個人的には、銀座は裏通りが意外に面白いと感じています。美味しい飲食店もいっぱいありますし、アート&クラフトの店、小さな建物の中にさまざまな業態の店が集まっていたりもして、インバウンド需要の波が押し寄せる表通りを歩くだけでは気づくことのできない、濃いカルチャーが残っている。インターナショナルな反面、日本のエッセンスが強い街でもあります。GINZA SIXには240ものショップが入りますが、まさに銀座の裏通りのような「さまざまなお店がいっぱいある面白さ」を出したいと思ってデザインをしました。 ところで、パリに「ボン・マルシェ」という世界最古の百貨店があります。私も大好きでパリに行くとよく買い物に出かけますが、ヒューマンスケールで、リテールのデザインが上手く、セレクションに長けていて、何より高級住宅街にあるので「左岸のお金持ち向け」というキャラクターがはっきりしている。結果、近所の住人でいつも賑わっていて、だから、観光客もやってくるという循環です。 すなわち、商業施設に必要な最後のレイヤーは「人」であり、そのクオリティであるということを忘れてはいけないと思います。GINZA SIXにもまず周辺に暮らす方々や職場がある人々、次に銀座に食事をしに来るような層を取り込んで、東京から日本、そこから海外の人に愛されていくようなメッセージやロジックが必要かもしれません。 皆さんは銀座に行くとき、どこを中心に捉えますか? もしかしたら、今は銀座4丁目の交差点かもしれません。でも、私は「とりあえずGINZA SIXで待ち合わせしましょう」という状況を作りたい。 これまでの商業施設にはないインテリアを持つGINZA SIXが、皆さんに愛されて、銀座の新しいスタートポイントになってくれることを願っています。 The Layer That Completes a Shopping Mall Personally, I find Ginza's side streets and back alleys to be among its most intriguing features. They're lined with great places to eat, arts-and-crafts stores, and small buildings occupied by seemingly every type of business, and are where you'll find a deep-rooted culture that you would never encounter if you kept only to the main tourist thoroughfares. These streets are cosmopolitan, but at the same time they are infused with the essence of Japan. GINZA SIX will be home to 240 stores, but I designed the interiors to bring out that same Ginza side street feel of wandering into a delightful hodgepodge of establishments. Incidentally, did you know that the world's oldest department store is Le Bon Marché in Paris? I'm such a big fan that I make several shopping trips each time I visit Paris. They're masters of retail design—the place is built to human scale, and their product selections are excellent—but most of all its location in an upscale residential area means that it caters to a clear demographic: the affluent class of the Left Bank. As a result, the place is always bustling with local residents, which in turn attracts tourists, and one feeds into the other. In other words, the final layer that is absolutely necessary for a shopping mall is people—and not just anybody, but people of a particular poise and quality. With GINZA SIX, first and foremost we wanted to create a destination that captures the hearts of the people who live and work in the area. Then from there, we will expand that circle to the people that come to Ginza to have lunch or dinner, to all of Tokyo and then Japan, and last but not least, abroad. You need a message that is not one-size-fits-all, but adaptable and universal. It's a gradual process that has to be thought out and executed carefully. When you visit Ginza, where do you think of as the center? Many point to the Ginza 4-chome intersection. My goal is that in the not too distant future people will be saying to each other "Let's meet up at GINZA SIX." GINZA SIX is a shopping mall with an interior the likes of which has never been seen before. I hope that it captures your hearts and imaginations, and becomes a new starting point for Ginza.

Radioshack Headquarters HQ Office Address, Phone Number, Email ID

by 1800customercare @ 1800 Customer Care Service Number

Radioshack Headquarters HQ, mailing and postal office address is given with the Radioshack contact telephone number, fax number and email address. Radioshack headquarters HQ and customer service department provides help and support to the customers during the working hours and […]

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bareMinerals | The Gardens on El Paseo

bareMinerals | The Gardens on El Paseo


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bareMinerals | The Mall at Green Hills

bareMinerals | The Mall at Green Hills


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bareMinerals® has always focused on using only the finest ingredients. This commitment led to the creation of an award-winning mineral makeup called bareMinerals®. 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.

bareMinerals | Westfarms

bareMinerals | Westfarms


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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

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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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bareMinerals | Cherry Creek Shopping Center


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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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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

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bareMinerals Review – Right For You? bareMinerals is a company that produces mineral foundations and effective skincare remedies to give consumers a flawless complexion. This is our review. W…

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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

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.

New bareMinerals, Pacifica Beauty & More: Our Salon & Spa Boutique Just Got Even Bigger

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【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

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これまでにない空間の力で、銀座の新しいスタートポイントに

by @ GINZA SIX | ギンザ シックス

商業施設を考える3つのポイント 今回のような商業施設のプロジェクトには3つのポイントがあると思います。一つは空間にアイコニックなエレメントを作らなければならないこと。例えば、今の時代はフォトジェニックだけでなく、メディアジェニックも大切です。施設を訪れた人々が写真を撮るときに「ここはGINZA SIXだね」と一目でわかる場所が必要で、パリの街で言えば、エッフェルタワーみたいなものですね。GINZA SIXでは2階の大きな吹き抜けのアトリウムをアイコンに据えています。 二つ目は、さまざまなストーリーボードを作ってシミュレーションをすることで、空間のなかの人の動きをデザインすること。ある場所からある場所まで何分かかるのか。その場合、エレベーターはもう一基必要ではないか。このあたりで光に出会いたいので、吹き抜けを設けようか…。空間のエネルギーが自然と循環し、人間の感情や身体感覚に対してストレスのない空間であること。ここは建築家とのコラボレーションが必要な部分でもあります。 最後の三つ目は、ダイナミックな空間とリラックスできる空間という緩急を設けること。商業施設で買い物をするスピードは人によって異なります。GINZA SIXではほっと一息付ける空間として、オリジナルでデザインしたソファをコクーンのようなプロポーションにし、背後に木の屏風を置いて、インティメートな空間を作り出しています。 一方で壮大なスケールのフロアが単調にならないように、銀座の裏に残る小さな路地などをイメージし、ショップが並ぶ通路をジグザグにデザインしました。そのジグザグによってすべての店に角が生まれ、通常の商業施設のように一つの通りを直線的に見渡せないことで、まさに路地の通りを歩きながら一つ一つの店に出会う高揚感を味わうことができるようになっています。 The Three Essential Elements of a Shopping Mall When it comes to designing a shopping mall like GINZA SIX, I believe there are three essential elements. One is the need for an iconic element within the space. Namely, in this day and age, it is important to be not only photogenic, but media-genic as well. Much like when people visit Paris they take the obligatory Eiffel Tower photo, you need something instantly recognizable as GINZA SIX that guests will naturally be inclined to snap a picture of. At GINZA SIX, we've positioned the large four-story atrium on the second level as our central picture-worthy attraction. Second is to design the flow of people through the space using storyboards to simulate various scenarios. How many minutes does it take to get from point A to point B? Wouldn't it be easier if there were another elevator there? I'm thinking people will want to encounter some sunlight right around here—how about we make this an atrium?...It's absolutely key that the energy of the space flows naturally, and that no physical or emotional stress is placed on the guests. This part involves working together with the architect. The third element is to provide variation: dynamic shopping experiences as well as areas of calm to sit down and relax. It's important to remember that everybody browses and shops at a different pace. For GINZA SIX, we've created an intimate premium lounge where guests can catch their breath, complete with custom-designed sofas that are so comfortable it's as if you were being wrapped in a cocoon, and a backdrop of wooden byobu [decorative multi-panel folding screens that serve as room partitions]. Also, in order to impart a sense of wonder on guests as they walk through the spectacular retail levels, we've set up the walkways in a zigzag orientation, evoking Ginza's narrow side streets and back alleys that remain to this day. The zigzags give each store a corner that faces out into the walkway—which means that unlike your standard inline shopping mall where you have a straight line of sight from one end to the other, guests naturally come face to face with each store as they walk around, and this creates a feeling of excitement about what could be around the next corner. 第一に誰のための空間であるべきか GINZA SIXは世界中から人々を招き入れる、インターナショナルな商業施設になると思います。ただ、インテリアには日本のエッセンスを入れたかった。外から来る方々を意識するのは大切ですが、まずは日本に住む私たちや自分の家族が喜べる空間を作りたかったのと、そこからズレてはいけないように思いました。 例えば日本の建築では障子や行灯でふんわりとした光を行き渡らせる工夫がなされていますが、GINZA SIXでは吹き抜けのアトリウムの天井に3Dの和紙をあつらえて、トップライトから落ちる自然の光を優しく透過し、その光が全体に回るようにしています。階段の手すりにはルーバーを用い、竹をイメージした格子をあしらいました。 空間を引き締めるクラフツマンシップをどう見せるかにもこだわりました。できるだけハンドメイドの素材を使うようにして、一部のエレベーターホールの壁はアルミの表面をテクスシャーのあるラッカーで仕上げています。ショップが並ぶ通路の壁にはポイントごとに職人による和紙を使用しました。こうした素材のレイヤーやクオリティでどう空間を見せるかは、GINZA SIXに限らず、私のすべてのプロジェクトに通じるデザインのポイントでもあって、日本のデザインもやはりレイヤーとクオリティで成り立っているとも言えます。ただし、今回は壮大なスケールのGINZA SIXが大きな工場のような印象を与えないために、そのバランスに気を配っています。 GINZA SIXが掲げる"New Luxury"というのも「これがすごいよね」と一点で語られるものではなく、あくまで全体を通して感じるものではないでしょうか。インテリア以外にも、建築があって、グラフィックがあって、アートがあって、能楽堂のような文化もあって、自然が感じられて、ホスピタリティがあるということ。逆に言うと、高級旅館であってもビジネスホテルであってももしかしたら大差はなくて、全体のバランスがよければ、「どちらもすごいね」ということになるのだと思います。 Who Should the Space Be For? I believe that GINZA SIX will become an international shopping mall that will attract guests from around the world. But in spite of that—or maybe even because of that—I wanted to imbue the interior design with the essence of Japan. While it is important to keep in mind that many of our prospective patrons will be from outside of Japan, my first priority was to design a space that our team of designers, our families, and those of us who live here in Japan would enjoy coming to. It was critical not to lose sight of that. For example, in Japanese architecture, you use fixtures like shoji [sliding screens made of translucent paper over a wooden frame] and lanterns to diffuse light throughout a space. At GINZA SIX, I had 3D washi [a Japanese style of paper commonly made using fibers from the bark of mulberry trees, paperbush, and Gampi trees] incorporated into the ceiling of the atrium in order to diffuse the natural light coming through the skylight and bathe the retail levels in gentle light. And for the staircases we've installed louver railings with latticework designed to resemble bamboo. I was also very particular about how attention to detail and touches of craftsmanship are used to bring the space together. Wherever possible, I integrated handmade and handcrafted elements. A number of the elevator hallways, for example, have walls covered in aluminum with a lacquer finish. And along the walls of the main walkways, you'll come across creative use of washi made by an expert papermaker. Using layers of design and the unique qualities of individual materials to bring a space to life—this has always been a central characteristic of my work, and GINZA SIX is no exception. And you can say that the use of layers and qualities are the foundation of Japanese design as well. So with a space as grand as GINZA SIX, it was important to achieve a balance between the two, so that it didn't end up feeling like some large industrial factory. GINZA SIX's vision of "New Luxury" is not something that draws attention to itself, not something you can pinpoint; rather, it's an aesthetic that permeates the entire undertaking from top to bottom. It applies not only to the interior design, but the architecture, graphic design, and artwork on display, as well as the Noh theater and other cultural attractions, greenery, and, of course, the service and hospitality. To put it another way, New Luxury is not about what or how much you do with a space, but whether or not what you do is right for the space. In that sense, whether you were to choose to spend the night at a high-end ryokan [traditional Japanese inn] or a business hotel, one experience is not necessarily more "luxurious" than the other, because it's a question of overall balance and the thought put into it. Again, not what or how much you can do for your guests, but whether or not what you do is right for your guests. 商業施設に必要な最後のレイヤー 私個人的には、銀座は裏通りが意外に面白いと感じています。美味しい飲食店もいっぱいありますし、アート&クラフトの店、小さな建物の中にさまざまな業態の店が集まっていたりもして、インバウンド需要の波が押し寄せる表通りを歩くだけでは気づくことのできない、濃いカルチャーが残っている。インターナショナルな反面、日本のエッセンスが強い街でもあります。GINZA SIXには240ものショップが入りますが、まさに銀座の裏通りのような「さまざまなお店がいっぱいある面白さ」を出したいと思ってデザインをしました。 ところで、パリに「ボン・マルシェ」という世界最古の百貨店があります。私も大好きでパリに行くとよく買い物に出かけますが、ヒューマンスケールで、リテールのデザインが上手く、セレクションに長けていて、何より高級住宅街にあるので「左岸のお金持ち向け」というキャラクターがはっきりしている。結果、近所の住人でいつも賑わっていて、だから、観光客もやってくるという循環です。 すなわち、商業施設に必要な最後のレイヤーは「人」であり、そのクオリティであるということを忘れてはいけないと思います。GINZA SIXにもまず周辺に暮らす方々や職場がある人々、次に銀座に食事をしに来るような層を取り込んで、東京から日本、そこから海外の人に愛されていくようなメッセージやロジックが必要かもしれません。 皆さんは銀座に行くとき、どこを中心に捉えますか? もしかしたら、今は銀座4丁目の交差点かもしれません。でも、私は「とりあえずGINZA SIXで待ち合わせしましょう」という状況を作りたい。 これまでの商業施設にはないインテリアを持つGINZA SIXが、皆さんに愛されて、銀座の新しいスタートポイントになってくれることを願っています。 The Layer That Completes a Shopping Mall Personally, I find Ginza's side streets and back alleys to be among its most intriguing features. They're lined with great places to eat, arts-and-crafts stores, and small buildings occupied by seemingly every type of business, and are where you'll find a deep-rooted culture that you would never encounter if you kept only to the main tourist thoroughfares. These streets are cosmopolitan, but at the same time they are infused with the essence of Japan. GINZA SIX will be home to 240 stores, but I designed the interiors to bring out that same Ginza side street feel of wandering into a delightful hodgepodge of establishments. Incidentally, did you know that the world's oldest department store is Le Bon Marché in Paris? I'm such a big fan that I make several shopping trips each time I visit Paris. They're masters of retail design—the place is built to human scale, and their product selections are excellent—but most of all its location in an upscale residential area means that it caters to a clear demographic: the affluent class of the Left Bank. As a result, the place is always bustling with local residents, which in turn attracts tourists, and one feeds into the other. In other words, the final layer that is absolutely necessary for a shopping mall is people—and not just anybody, but people of a particular poise and quality. With GINZA SIX, first and foremost we wanted to create a destination that captures the hearts of the people who live and work in the area. Then from there, we will expand that circle to the people that come to Ginza to have lunch or dinner, to all of Tokyo and then Japan, and last but not least, abroad. You need a message that is not one-size-fits-all, but adaptable and universal. It's a gradual process that has to be thought out and executed carefully. When you visit Ginza, where do you think of as the center? Many point to the Ginza 4-chome intersection. My goal is that in the not too distant future people will be saying to each other "Let's meet up at GINZA SIX." GINZA SIX is a shopping mall with an interior the likes of which has never been seen before. I hope that it captures your hearts and imaginations, and becomes a new starting point for Ginza.

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世界的な現代アーティストの作品と、商業空間の相乗効果を発揮

by @ GINZA SIX | ギンザ シックス

GINZA SIXで展開するパブリックアート 銀座というのはやっぱり日本の顔、特に商業の顔じゃないかと思っています。そこにGINZA SIXという商業施設がオープンするというのは、日本の新しい顔ができるということ。しかも建築を谷口吉生さんが設計するとなれば「この国の最高のクリエーターたちが関わって、GINZA SIXを作りました」という姿勢が必要です。 そのときに打ち出すアートは奈良や京都に代表される伝統的な日本というより、まずはクリエイティブなイメージを持った新しい日本を感じさせるものではないかと思いました。GINZA SIXは建築もインテリアデザインも、日本というものを意識してはいますが、あくまでコンテンポラリーなテイストです。一方で、銀座は1960年代から現代美術を扱うところも含めて多数の貸し画廊が増えて、今ではギャラリーが集う街ともいえる。 そう考えたとき、GINZA SIXの中央の吹き抜けに展開するメインのアートは、世界の現代美術シーンで日本の顔になっている方の作品がふさわしいだろうと思い、草間彌生さんにお願いしました。新作を作ってもらい新鮮さを出しながら、日本らしさも感じさせるものにならないかなというのがこちらの思惑です。ちなみに、この吹き抜け部分のアートは不定期で入れ替えていく予定です。 商業とデザインは相性がいいですが、商業とアートはそれほどコラボレーションのチャンスがなかった。それに、あまりアートがとんがりすぎていると受け入れられない。でも、ある程度とんがっていなきゃアートをやる意味がない。なぜなら無難な作品になると、それこそデザインの一部に見えてしまいますよね。GINZA SIXではそうしたアートと商業空間のバランスと相乗効果にも注目してもらえたらと思います。 ちなみに「アート&ライフ——現代アートをより身近なものに」は森美術館のモットーでもあるのですが、私は生活の中にアートがあまねく行き渡るのが理想ではないかと思っています。アートが富裕層のためだけのものではなく、一般の人たちも気軽にアートを購入でき、それが日常生活の中にあるというイメージです。素敵ですよね。それこそが豊かな生活といえるのではないでしょうか。 そういう意味で、今回のGINZA SIXのように商業施設のなかにもアートがあって、なおかつアートがその施設の活動に貢献するのは理想的だと思います。さらにその施設の性格を象徴的に表していくような、アートならではのメッセージ性を演出できると、素晴らしいと思います。 Public Art at the Heart of GINZA SIX It is my opinion that Ginza is the face of Japan—more specifically, the glitzy face of commerce and retail shopping culture. As such, the opening of a shopping mall like GINZA SIX is the unveiling of a new face for Japan to present to the world. All the more when you have someone of Yoshio Taniguchi's caliber designing your building. You start to realize the gravity of the undertaking: GINZA SIX is truly the result of the greatest creative voices in Japan coming together. When it came to deciding on a direction for the art that would take center stage at this new landmark, I felt we should go for something that spoke to the creativity associated with modern-day Japan rather than the traditional Japanese aesthetic embodied by places like Nara and Kyoto. Of course, "Japan" was a conscious theme for GINZA SIX both in terms of the architecture and the interior design, but we've gone for a wholly contemporary look and feel. At the same time, we were also very aware that Ginza has become an art gallery hub of sorts, with the number of contemporary art dealers and rental gallery spaces steadily increasing since the 1960s. All of this meant that the centerpiece that was to grace GINZA SIX's central atrium should be designed by someone who was the face of Japan in the international contemporary art scene—which is why I approached Yayoi Kusama for the job. By bringing her talents on board, I was confident that the result would be utterly fresh and inspiring while simultaneously retaining a uniquely Japanese essence. Incidentally, this atrium art piece is not intended to be permanent, and new centerpieces will be unveiled at irregular intervals. The words "commercial" and "design" have gone well together; but the relationship between commercialism and art has always been much more contentious. The problem is, the more outrageous a work of art is, the less people get it. On the other hand, what is the point of art that isn't challenging on any level? The more you play it safe, the more obvious it becomes as a product of design. For GINZA SIX, I think we've succeeded in finding that great balance between art and a retail shopping space, where both feed into one another in a beautiful way. I'm excited for people to come and see for themselves. Incidentally, the Mori Art Museum's motto is "Art + Life—Making contemporary art more accessible," and likewise I believe that art should be ubiquitous in our lives. Art should not just be for the wealthy. It should be readily accessible and affordable to everybody—a regular presence in all of our lives. Just imagine it. After all, isn't that what we mean when we talk about an "enriched society"? In that regard, GINZA SIX is a prime example of how I believe a shopping mall should be: art at its core, serving as both the heart and the lifeblood that illuminates its environment. And if that art can encapsulate the personality of the facility, if it has a message to convey as only art can, it will take on a life of its own wonderfully. 銀座の街をめぐる記憶 1970年代、並木通りに「レンガ屋」という、当時最高と言われたフレンチレストランがありました。大学生の頃、その上階にある出版社の『トラベルタイムズ』という旅行雑誌の編集部で2年くらいアルバイトをしていました。社長がそのレンガ屋で食事をしながら、エアラインやホテルや旅行業界の外国人にインタビューをするんですが、僕はそこに同席してメモを取って、写真を撮って、通訳までしなくちゃいけなかった。それをしながら、フランス料理のフルコースを全部食べなきゃいけないわけで、振り返ると、すごいテクニックですよね(笑)。それが銀座の思い出。 一方、大学時代からの友人には銀座の老舗の旦那たちがいて、明治以降の東京の商人文化を担ってきた彼らは、銀座に今も誇りをもっていますよね。ブランドショップが居並ぶようになった今も「ここは俺たちの町だ」という想いをもっています。また先日、銀座のイベントに呼んでもらって話す機会があったとき、関係者から「銀座はもともと島だったんですよ」と聞かされました。1964年の東京オリンピックのために周りの運河を埋めてその上に高速道路を作る以前、今は地名でしか残っていない「数寄屋橋」「新橋」「京橋」などは、実際に銀座と外を結ぶ橋でした。 たった50年前までは島でもあった銀座。そんな土地の独自の記憶も決して埋もれさせてはいけないように感じています。 The Heritage of Ginza Back in the 1970s, I spent a couple of years as a university student working part time on the editorial staff of a travel magazine called Travel Times. The publisher's offices were located up in a building along Namiki-dori [which runs parallel to Ginza's main shopping thoroughfare Chuo-dori], and below us was a French restaurant called Renga-ya, which at the time had established a reputation as Tokyo's pinnacle of fine dining. The CEO would interview foreign guests from the airline, hotel, and travel industries for the magazine over a meal there, and it would be my job to accompany him to take notes, photos, and even act as an interpreter—all in addition to scarfing down a full-course meal. In retrospect, I was quite the multitasker (laughs). That's one of my fondest memories of Ginza. A number of friends from my university days have gone on to take over long-established, family-run Ginza shops—institutions, really. These are men who have been cultivating Tokyo's merchant culture for generations stretching back to the Meiji Period [1868-1912], and for them, Ginza remains the pride of Tokyo. Even now when high-fashion brand boutiques line the streets, they still consider Ginza their town. On a similar note, the other day I was invited to attend an event there, and I was speaking with one of the organizers, who explained to me that Ginza used to be an island. The areas we now call Sukiyabashi, Shinbashi, and Kyobashi—these names originally referred to bridges that connected Ginza to the mainland [bashi, or hashi, means "bridge" in Japanese]. The city filled in the surrounding canals and built an elevated highway in the lead-up to the 1964 Tokyo Olympics. Ginza was an island just a half century ago. I feel that we have an obligation to keep this land's unique heritage alive. GINZA SIXが掲げる「New Luxury」について思うこと 今の時代、ラグジュアリーというものが物ではなく、体験に変わってきています。僕の知り合いが数年前、お客様が持ち込んだギフトを室町時代から続く日本の伝統的な贈り物の作法「折形(おりがた)」で包むサービスを提供する『MIWA』という店を、パリにオープンしたんです。サンジェルマン・デプレの裏通りに暖簾が掲げられていて、小さな店内に入ると床の間があって、ヒノキの一枚板でできたカウンターがある。彼は、着物を着て出てきて抹茶を点ててくれるのですが、僕が訪れた時に客がいた試しはない。それでも続いている。 いったい、どうなっているのか聞いてみたら、ラグジュアリーブランドの企画に携わる人たちが「どう体験をデザインするか」について話を聞きたいと彼を訪ねて来る。それが仕事につながっている。 アートにも今後、物としてではなく、特別な体験を提供する役割が求められていくんじゃないかなと思います。 Thoughts on GINZA SIX's "New Luxury" Concept These days when we talk about luxury, we refer less and less to material things and more and more to experiences. A few years ago an acquaintance of mine opened a shop in Paris called MIWA, which specializes in gift wrapping using a traditional Japanese method known as origata [where a single sheet of handmade paper is used with no scissors, tape, or glue] that has been practiced since the Muromachi Period [1336-1573]. It's a quaint little shop nestled on a side street in Saint-Germain-des-Prés, with a tokonoma [an alcove in a Japanese-style reception room for displaying a flower arrangement or other piece of art] by the entrance and a counter made up of a single slab of Japanese cypress. My acquaintance welcomes customers in a kimono and even prepares and serves them matcha [powdered green tea]. But the thing is, I've stopped by a number of times, and each time I never see anyone in there. Yet somehow he doesn't go out of business. When I finally asked him how he was making ends meet, he told me that planners and strategists from various luxury brands come to him for advice on how to design customer experiences. He's essentially a consultant for hire. That's just one example of how people are beginning to look to art not as an object to ponder over, but as something that provides a lasting experience.

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