Page 34 - Studio International - September October 1975

r. Minoru Takeyama, 2 Ban
Kahn, 1970. Blown-up graphic
devices advertise this
collection of 54 bars in the bar
area of Shinjuku, Tokyo, where
there are over 20,000. Takeyama
uses bull's eyes and the
red/white industrial code to
compete in an area where no
other architect or city planner
has worked. The glass wall
becomes a gigantic beacon
advertisement at night.
(Photo, Takeyama)

2. Gae Aulenti, Olivetti
Showroom, Buenos Aires, t968.
The illusion of consumer
abundance is created by
perspective tricks and an overall
cover of plastic laminate which
hides the wood base. Sparkling
high technology, the equivalent
of religious relics and rare
jewellery, is now in the reach of
everyman, says the illusion.
(Photo, Erich Hartmann)

3. Foster Associates, Olsen
Shipping Line, London, 1970.
Doors, windows, gutters, etc.
disappear behind this mirror
wall, which reflects the
company's products. (Photo,
Tim Street-Porter)
The painting by Ben Johnson
(left) shows a concern for the
surface ambiguities of
architecture, the glimmer and
broken reflections which suggest
a perfection shattered. Mirror
also reduces reality in his
paintings to silken, blob-like
abstractions, an effect obtained
in silk screening. (Collection
Norman Foster)

4, 5. Fine Arts Squad, Wash
15 C., Venice, California, t969.
You look one way down Brook
Street and see reality; you turn
the other way and see it painted.
(Photo, Jencks)

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