Post by: Camila da Paz | Source: This is Colossal



The Kadokawa Culture Museum in Sakura Town, Japan is situated within a starkly designed structure by architect Kengo Kuma.

Appearing pixelated, the facade is formed with 20,000 individual pieces of granite, and the polyhedron-shaped building is broken up into five floors, including a garden, art gallery, two museums, and a cafe. The most alluring feature is the bookshelf theater, an eight-meter-high library that holds around 50,000 titles. On level four, the multifunctional space can be transformed into a performance venue through projection mapping.

Located west of Tokyo, the museum is part of the larger Tokorozawa Sakura Town complex, which includes an anime hotel, an outdoor space lined with cherry trees, an indoor pavilion, shrine, shops, and restaurants.

An exhibition dedicated to Kuma will mark the museum’s launch, although a definitive schedule for public visits hasn’t been released due to concerns about COVID-19. To follow Kuma’s architectural projects and updates on Kadokawa’s full opening, head to Instagram @kadokawa_culture_museum.


Post by: Camila da Paz | Source: Design Like


A scaled model of Manhattan hand carved from a block of marble tips the scales at an astounding two-and-a-half tons and measures 21 3/4 x 104 3/8 x 33 1/2 inches.

The miniature creation of America's most famous skyline, carved by Japanese artist Yutaka Sone, had art enthusiasts at a New York City gallery awestruck.

This impressive map was exhibited between September and October, 2011 at the David Zwirner gallery in New York. Little Manhattan’s sculpture map reflect an obsessive attention to details of the artist who tried to recreate the island to scale in marble, pending more than two years after 2006 making a wood-and-foam model based on Google Earth and his own photos taken during a helicopter ride to render Manhattan with its Central Park, skyscrapers, streets, avenues, and the bridges to the east and west to scale.

It was the highlight of the exhibit when it opened, with passers-by noting the painstaking precision with which Mr Sone carved the city's every building and sloping street.

The exhibition marks Mr Sone's fifth solo showing since his first exhibition at the gallery in 1999. The exhibition also included other marble works and sculptures of trees.


Some structures from the sculpture were slightly enlarged to show their iconic details which together with the pure white marble give an industrial look to the top, while the bottom is more elegant and poetic appearing from a distance like a large, weightless feminine dress.

Contemporary artist Yutaka Sone was born in 1965 in Shizuoka, Japan.

Sone studied fine art and architecture at Tokyo Geijutsu University and currently lives and works in Los Angeles. Across a wide range of media, Sone's work revolves around a tension between realism and perfection. A conceptual framework, paired with a meticulous attention to detail, has characterized his practice since the early 1990s.


His sculptural works in particular attest to a profound interest in landscapes, whether natural or architectural. Work by the artist is held in prominent international museum collections, including the Art Institute of Chicago; High Museum of Art, Atlanta, Georgia; Kunsthalle Bern; Mori Art Museum, Tokyo; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Tokyo; The Museum of Modern Art, New York; Tate Gallery, London; and the Whitney Museum of American Art, New York. Yutaka Sone is represented by Tommy Simoens, Antwerp.

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Post by: Camila da Paz | Source: Archilovers



There are around 16.000 abandoned quarries in Italy, most of them marble quarries. Although the crisis in the construction sector has actually contributed to reducing the amount of stone extracted, the numbers are still impressive: over one billion euros in revenue. The breathtaking landscapes of marble quarries, shaped by the human hand, has an incredible evocative power. It still echoes from its industrialized past, where man has dug ceaselessly to extract a noble material, shaping the landscape for eternity, leaving its ineffaceable trace in the territory.

Extraction sustains our society, and even in recent decades we have been advancing technologically, we have not progressed enough that slowing down the pace would be possible. We rarely stop to think about the origin of the materials which makes up the building business, or the raw materials necessary to the endless demands of contemporary human activity. And so, as the world population has become more urban, the landscapes that provide these raw materials become more remote and spatially distant from the daily view.

And it is within these numbers, but yet also this enormous architectural potential that the project MARMOR III, by Hannes Peer Architecture, comes into play. This project intends to give several possible strategic but also provocative answers to the following questions: What to do with these abandoned sites? How can our actions contribute to the nature? How can the nature contribute to our way of life?

The real architectural provocation here is to actually 'live in marble', with this simple evocative slogan and through the images provided the viewers mind is immediately transported into a modern interpretation of a penthouse in the midst of a marble quarry with spectacular views, minimalist residential units immersed in marble, a thermal bath entirely excavated in a quarry. That is when the viewer realizes that this project is realistic, we can imagine to actually live in one of those spaces, surrounded by marble in an archaic yet hyper modern and minimalist environment.


Water as added element nourishes a new ecosystem that extends outward. While inhabiting the spaces deep within the mountain, the visitor gets the true sense of the land altering process of marble mining while being able to take in the breath taking experience of inhabiting these spaces, once only seen by the eyes of the men and woman who excavated the stone. It is a true escape from our busy lives to become one with the natural environment. We, as humans, have the opportunity to benefit the environment and all living things. It is our relationships with the environment and other species that make us part of an ecosystem.

In proposing the intervention in different marble quarries, in addition to readjust the space for a new use, it highlights an atmosphere that encourages the visitor to reflect on the impacts caused by the extraction of materials, represented the contrast between human scale and the monumentality of the site. At the same time the visitor or inhabitant will have as well a very intimate relationship with the marble as material but also with marble in its purest architectural form.


Marmor III proposes a strategic reuse of these abandoned marble quarries. These different site specific architectural interventions would reconfigure the former volumes excavated for marble extraction and excavating new ones to better adapt the different project typologies. Meanders of sculptural porosity and unique architectural compositions are created by occupying and modifying the voids of each quarry. The building approach is somewhere between architecture and nature, it is an expression of diversified architectures that live between raw and glossy, modular and sculptural, opaque and transparent, solid and void.


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