March 17, 1991 |
Japanese architect Arata Isozaki seems to be a quintessential child of his time, molded and buffeted by great events. As a boy he saw his hometown flattened by American bombs. "I have a strong image that everything I do will always be destroyed or ruined," he says. "That image became my hidden trauma. . . . I never had the idea of becoming an architect, but in some way I thought, 'We have to reconstruct this destroyed situation.'
April 21, 1991
Japanese architect Arata Isozaki ("Arata Isozaki's Global Village," March 17) recalled collapsing and not working for two years after his work on "Tokyo's Expo '70." I hope it wasn't all in vain; Expo '70 was in Osaka. ALLEN ARATA Hathorne
March 18, 1991 |
A lofty collection of architect superstars, academicians, art collectors and dealers turned up last weekend for a private viewing of the retrospective "Arata Isozaki: Architecture 1960-1990," which opened to the public Sunday, and tried to get close to the quiet man in the Issey Miyake tuxedo. Friday evening's event at the Museum of Contemporary Art, which Isozaki designed, also was billed as a birthday party for the Japan-based architect.
May 19, 1991 |
The Museum of Contemporary Art has begun its annual "Summer Nights at MOCA" program, a monthly series of evening events featuring free museum admission, live music, complimentary hors d'oeuvres and a no-host bar. On June 6, MOCA will feature flutist Eileen Holt and viewing and discussion of "Arata Isozaki 1960/1991 Architecture." The July 11 event will feature the improvisational music trio Submedia, and viewing and discussions of "High and Low : Modern Art and Popular Culture." On Aug.
January 20, 1985 |
These are good times for architecture in Los Angeles, but not necessarily for local architects. Judging from letters and telephone calls, and comments heard at various gatherings, there seems to be a healthy rise in the design consciousness of developers, public officials and citizens. This, in turn, has prompted a healthy questioning of proposed projects, such as the effect of their height, scale, massing and details on the street scape and skyline, as well as simply how they function.
November 26, 1987 |
Japan's top architects have tasted freedom and found it heady. Now their own masters, they worship no ideologies of past style or futuristic form. "We are free from icons, free from gods," said Kisho Kurokawa, with the jumbled silhouette of Tokyo stretching below his studio windows. "It's a new age, a dynamic situation." Architectural critics and Kurokowa's colleagues agree.