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A House for Akira Kurosawa & Toshiro Mifune
A House for Akira Kurosawa & Toshiro Mifune
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A House for Akira Kurosawa & Toshiro Mifune
THERE
ARE POSSIBLE NO OTHER TWO NAMES MORE SYNONOMOUS WITH JAPANESE CINEMA. THAT OF
AKIRA KUROSAWA AND TOSHIRO MIFUNE. KUROSAWA’S MOVIES DEFINE GENERATIONS OF
MOVIE MAKERS; FROM STEVEN SPIEBERG, SERGIO LEONE AND GEROGE LUCAS TO NAME A
FEW. MIFUNE EPITOMISE THE SAMURAI PROTAGONIST TO THE WORLD. EVEN CLINT EASTWOOD
IMMITATED HIS POSTURE AND ADAPTED IT TO COUNTLESS WESTERNS. WHAT KUROSAWA AND
MIFUNE DID WAS PERHAPS AHEAD OF THEIR TIME AND BOTH NEVER CONTEMPLATED THEIR
INFLUENCE UPON JAPANESE AND WORLD CINEMA. THESE ARE WELL KNOWN FACTS THAT NEEDS
NO FURTHER INTRODUCTION. IN ORDER TO DESIGN A “HOUSE” BASED UPON KUROSAWA’S
IDEALOGY, I BELIEVE IT IS VITAL THAT MIFUNE WILL HAVE TO HAVE EQUAL STANDING IN
THIS STRUCTURE. ALTHOUGH BOTH OF THEM HAVE PASSED AWAY AND IRONICALLY NEARLY
THE SAME PERIOD, BOTH WERE TRAGICALLY SEPERATED IN COLLABORATION AND FRIENDSHIP
IN LATTER YEARS. REASONS ARE BEST KNOW TO THEM BOTH BUT MOST HAVE AGREED IT IS
DUE TO FINANCIAL AND CREATIVE INDIFFERNCE. THIS IS A PITY AS I BELIEVE EVEN
WHEN KUROSAWA WAS MOVING INTO HIS MORE PERSONAL PERIOD WITH HIS LATER MOVIES(RHAPSODY
IN AUGUST,DREAMS) AND MIFUNE REMAINS TYPECAST AS THE SAMURAI PROTOGANIST
POST-KUROSAWA PERIOD, THEIR POSSIBLE UNION COULD HAVE PRODUCE SOMETHING TRULY
SPECIAL. FROM READING PAST INTERVIEWS IT HAS COME TO MY UNDERSTANDING THAT THE
TWO DID MEET IN ONE OCCASION DURING A PARTY AFTER THEY HAVE PARTED WAYS FOR
MANY YEARS. AND IN THIS MEETING BOTH WERE STARING AT EACH OTHER ACROSS THE ROOM
AND THROUGH IMMENSE COURAGE BOTH EVENTUALLY HUG AND WITH TEARS SUBSIDED YEARS
OF SILENCE AND AVOIDANCE. ALTHOUGH BOTH NEVER TRULY REGAIN THEIR EARLIER BOND,
IT IS WITH THIS PROFUND IMAGE WHICH INITIATED MY CREATION OF A “HOUSE” THAT
WILL UNITE THEM AGAIN AND REKINDLE THEIR ADMIRATION FOR EACHOTHER. JAPANESE ARE
KNOWN TO HAVE IMMENSE REGARD FOR SELF PRESERVATION AND CHARACTER HONOUR SO A
SIMPLE MEETING PLACE CANNOT SUFFICE. IT HAS TO STILL CREATE A SOFT PERSONEL
BARRIER BETWEEN THESE TWO YET AT THE SAME TIME WILL INVITE BOTH’S INTEREACTION.
I DID NOT WANT TO DESIGN A HOUSE IN THE NORMAL SENSE OF AN ENCLOSURE BUT A
STRUCTURE OF METAPHOR AND SYMBOLISM.
IT
IS IRONIC THAT KUROSAWA DESCENDED FROM A FAMILY OF SAMURAI AND MIFUNE WILL BE
BEST KNOWN FOR HIS SAMURAI PORTRAYAL. COULD THIS HAVE DEEN DESTINY? THIS WILL
BE MY STARTING POINT OF THE DESIGN. ALSO WITH THE UNDERSTANDING THAT KUROSAWA
UTILIZE THE WEATHER AND SEASONS PROFUSELY IN HIS MOVIES (ESPECIALLY IN SEVEN
SAMURAI, YOJIMBO, STRAY DOGS AND DREAMS). THIS WILL BE AN IMPORTANT PART IN
THIS “HOUSE”. THIS HOUSE WILL BE A MOBILE STRUCTURE THAT INVITES VISITORS TO
INTERPRET THE RELATIONSHIP BETWEEN THESE TWO AND A CELEBRATION OF THEIR WORKS.
IT WILL BE A SHRINE TO THESE TWO CREATIVE MINDS. IT WILL BE A SOCIAL SCULPTURE
COMMORATING THESE TWO AND IT WILL HOPEFULLY BE AN INSPIRATION IN SPIRIT FOR
THESE TWO TO COLLABORATE AGAIN, WHETHER METAPHYSICALLY OR IN THE NEXT LIFE.
ARE POSSIBLE NO OTHER TWO NAMES MORE SYNONOMOUS WITH JAPANESE CINEMA. THAT OF
AKIRA KUROSAWA AND TOSHIRO MIFUNE. KUROSAWA’S MOVIES DEFINE GENERATIONS OF
MOVIE MAKERS; FROM STEVEN SPIEBERG, SERGIO LEONE AND GEROGE LUCAS TO NAME A
FEW. MIFUNE EPITOMISE THE SAMURAI PROTAGONIST TO THE WORLD. EVEN CLINT EASTWOOD
IMMITATED HIS POSTURE AND ADAPTED IT TO COUNTLESS WESTERNS. WHAT KUROSAWA AND
MIFUNE DID WAS PERHAPS AHEAD OF THEIR TIME AND BOTH NEVER CONTEMPLATED THEIR
INFLUENCE UPON JAPANESE AND WORLD CINEMA. THESE ARE WELL KNOWN FACTS THAT NEEDS
NO FURTHER INTRODUCTION. IN ORDER TO DESIGN A “HOUSE” BASED UPON KUROSAWA’S
IDEALOGY, I BELIEVE IT IS VITAL THAT MIFUNE WILL HAVE TO HAVE EQUAL STANDING IN
THIS STRUCTURE. ALTHOUGH BOTH OF THEM HAVE PASSED AWAY AND IRONICALLY NEARLY
THE SAME PERIOD, BOTH WERE TRAGICALLY SEPERATED IN COLLABORATION AND FRIENDSHIP
IN LATTER YEARS. REASONS ARE BEST KNOW TO THEM BOTH BUT MOST HAVE AGREED IT IS
DUE TO FINANCIAL AND CREATIVE INDIFFERNCE. THIS IS A PITY AS I BELIEVE EVEN
WHEN KUROSAWA WAS MOVING INTO HIS MORE PERSONAL PERIOD WITH HIS LATER MOVIES(RHAPSODY
IN AUGUST,DREAMS) AND MIFUNE REMAINS TYPECAST AS THE SAMURAI PROTOGANIST
POST-KUROSAWA PERIOD, THEIR POSSIBLE UNION COULD HAVE PRODUCE SOMETHING TRULY
SPECIAL. FROM READING PAST INTERVIEWS IT HAS COME TO MY UNDERSTANDING THAT THE
TWO DID MEET IN ONE OCCASION DURING A PARTY AFTER THEY HAVE PARTED WAYS FOR
MANY YEARS. AND IN THIS MEETING BOTH WERE STARING AT EACH OTHER ACROSS THE ROOM
AND THROUGH IMMENSE COURAGE BOTH EVENTUALLY HUG AND WITH TEARS SUBSIDED YEARS
OF SILENCE AND AVOIDANCE. ALTHOUGH BOTH NEVER TRULY REGAIN THEIR EARLIER BOND,
IT IS WITH THIS PROFUND IMAGE WHICH INITIATED MY CREATION OF A “HOUSE” THAT
WILL UNITE THEM AGAIN AND REKINDLE THEIR ADMIRATION FOR EACHOTHER. JAPANESE ARE
KNOWN TO HAVE IMMENSE REGARD FOR SELF PRESERVATION AND CHARACTER HONOUR SO A
SIMPLE MEETING PLACE CANNOT SUFFICE. IT HAS TO STILL CREATE A SOFT PERSONEL
BARRIER BETWEEN THESE TWO YET AT THE SAME TIME WILL INVITE BOTH’S INTEREACTION.
I DID NOT WANT TO DESIGN A HOUSE IN THE NORMAL SENSE OF AN ENCLOSURE BUT A
STRUCTURE OF METAPHOR AND SYMBOLISM.
IT
IS IRONIC THAT KUROSAWA DESCENDED FROM A FAMILY OF SAMURAI AND MIFUNE WILL BE
BEST KNOWN FOR HIS SAMURAI PORTRAYAL. COULD THIS HAVE DEEN DESTINY? THIS WILL
BE MY STARTING POINT OF THE DESIGN. ALSO WITH THE UNDERSTANDING THAT KUROSAWA
UTILIZE THE WEATHER AND SEASONS PROFUSELY IN HIS MOVIES (ESPECIALLY IN SEVEN
SAMURAI, YOJIMBO, STRAY DOGS AND DREAMS). THIS WILL BE AN IMPORTANT PART IN
THIS “HOUSE”. THIS HOUSE WILL BE A MOBILE STRUCTURE THAT INVITES VISITORS TO
INTERPRET THE RELATIONSHIP BETWEEN THESE TWO AND A CELEBRATION OF THEIR WORKS.
IT WILL BE A SHRINE TO THESE TWO CREATIVE MINDS. IT WILL BE A SOCIAL SCULPTURE
COMMORATING THESE TWO AND IT WILL HOPEFULLY BE AN INSPIRATION IN SPIRIT FOR
THESE TWO TO COLLABORATE AGAIN, WHETHER METAPHYSICALLY OR IN THE NEXT LIFE.
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