fluktor -|||- study - office - newsletter August 07, 2005

The Asahi Shimbun, 07/29/2005
Special/ Noguchi's legacy: An entire park as a lasting work of art
By KEIKO SATO

SAPPORO-Sculptor Isamu Noguchi didn't live to see his dream realized. But 17 years after Noguchi first unveiled his design for a "sculptured park" to be built atop a landfill, Moerenuma Park is finally finished.

Noguchi's last and largest work of art is 188.8 hectares of landscaped green space. That's big enough to hold 40 Tokyo Domes. It sprawls across flat marshlands that stretch north of Sapporo and cost 25 billion yen to complete.

It was the sculptor's bequest to Sapporo, a city Noguchi once said he felt close to because it reminded him of the America he experienced during his youth.

Noguchi was born in Los Angeles in 1904, the son of an American mother and a Japanese father.

He and his family moved to Tokyo in 1906, and he returned to the United States in 1918.

Innovative and versatile, Noguchi created many sculptures and designed grand public spaces, including the distinctive water fountain that became a symbol for Osaka's Expo '70.

He died in 1988, just one month after revealing the final plans for Moerenuma Park, situated a 30-minute drive north of Sapporo.

The park's grand opening was held on July 1.

It takes about an hour to walk completely the park's 4-kilometer circumference.

The summer air carries the fragrance of fresh-mown grass and clover.

The pleasant vistas include marsh waters glistening in the sun and stands of white birch and Japanese larch trees.

Probably few, if any, hikers strolling around would suspect that 2.7 million tons of waste are buried below their feet.

When the city of Sapporo first conceived the idea of redeveloping the land 23 years ago, it was just empty pastures and a crescent-shaped marsh.

Sapporo planned parks and a green belt to encircle the city's center.

The city hoped to combine its need for the landfill with the park idea. The marsh was to serve double duty as a reservoir, a way to cut down on the costs.

Young entrepreneurs impressed by Noguchi's ideas and international lifestyle introduced the artist to the city, which then commissioned the artist to design the park.

In 1988, he visited the landfill site, donned rubber boots and spent three hours mucking about in the debris-strewn mud and water.

Noguchi liked what he saw.

He envisioned the entire park coming together as a single sculpture.

Although he was in his 80s, Noguchi was an active man, flying from his home in New York to Sapporo and Tokyo, to meet with planners and others working on the park project.

In November 1988, at a gathering to celebrate his 84th birthday, Noguchi unveiled his 1/2000-scale model of Moerenuma Park.

Beaming, he pronounced the master plan complete and said the rest could easily be handled by the people involved with the project, many of whom were at his party.

Noguchi died one month later.

But despite having the overall blueprint, many of the fine details weren't specified. It was anyone's guess what Noguchi may have intended.

So the architectural firm that took over the project researched Noguchi's past works, looking at parks and other works he had created.

Construction began in earnest around 1992.

The first components, including the Glass Pyramid and the Moere Mountain, which is about 1.3 times the area of the Tokyo Dome, began to take shape.

The final monument was the Sea Fountain, completed in March 2005. It opened July 1.

Along the way from conception to completion, Moerenuma Park spurred the creation of many civic organizations that are involved in its management. One such group is the Moere Fan Club.

Noguchi produced works all over the world, such as his 1955 landscaping of the Philip A. Hart Plaza in Detroit, Michigan-a challenge that created a vibrant center where once there was urban desolation. His riverside park remains a focal point for festivals and public gatherings.

Hitoshi Yamamoto, 57, Moerenuma Park director, was in Sapporo's landscape and gardening division when the Moerenuma Park project was conceived.

"A park can be much more, or much less, than it was designed to be, depending on how it is managed. I hope to keep on working on this project, together with the people of Sapporo," Yamamoto said.(IHT/Asahi: July 29,2005)

http://www.asahi.com/english/Herald-asahi/TKY200507290223.html

****************

The Asahi Shimbun, 07/29/2005
INGENIOUS VISION/Moerenuma a sculpture that doubles as playground
By SANZO TANAKA

The final phase of Sapporo's Moerenuma Park, a project that was years in the making, opened to the public this month. It is the last gift of sculptor Isamu Noguchi.

Everything about the park reflects Noguchi's philosophy and his sense that his art should "serve a purpose."

This sculptured park, which capped Noguchi's more than 50-year illustrious and creative career, has none of the sterile detachment of famed yet impenetrable works of art.

Nor does this sweeping outdoor gallery give any hint that it was built on landfill.

The landscapes were created piece by piece, with each of the 15 facilities and sculptures opening to the public independently.

The last stage of the project was finally opened on July 1.

From the impressive 30-meter Play Mountain that dominates the park to the futuristic Tetra Mound, a 13-meter metal pyramid that sits atop an earth dome, this park offers attractions like no other.

For children, the Sakura-no-mori cherry wood, with its modern play equipment, is like a dream come true.

The 52-meter pudding-shaped Moere Mountain was completed last fall.

In the center of the park, the Sea Fountain shoots water 25 meters into the air in streams that curl and spiral in a dreamy 40-minute show.

Noguchi said his inspiration for a "park as a sculpture" came in 1933.

During his lifetime, Noguchi designed about 20 parks. He also created sculptures in all sorts of mediums-from small metal objects to huge stone monuments.

Noguchi is also well-known for his elegant Akari bamboo and paper light sculptures.

Unquestionably, the Moerenuma Park is a fitting culmination to Noguchi's park projects, many of which were on gigantic scale.

Noguchi spent much of his life traveling. He visited many exotic, far-away places, always taking the opportunity to delve into peoples' lives, their customs and traditions.

The journey that led to the creation of the Sapporo park was just as extraordinary.

When Noguchi died shortly after presenting his blueprints for the park, the Isamu Noguchi Foundation, which inherited the artist's estate, took over the project under the guidance of architect Shoji Sadao.

It was brought together by architect Junichi Kawamura, a long-time Noguchi collaborator.

Although Noguchi didn't live to see his dream park fulfilled, it bears all the hallmarks of his work: carving his mark upon the Earth and shaping it to his vision.(IHT/Asahi: July 29,2005)

http://www.asahi.com/english/Herald-asahi/TKY200507290222.html

__________________

with kind regards,

Matthias Arnold
(Art-Eastasia list)

http://www.chinaresource.org
http://www.fluktor.de

__________________________________________

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For postings earlier than 2005-02-23 please go to:
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	August 07, 2005: [achtung! kunst] Isamu Noguchi - Moerenuma Park (Sapporo)

	The Asahi Shimbun, 07/29/2005 Special/ Noguchi's legacy: An entire park as a lasting work of art By KEIKO SATO SAPPORO-Sculptor Isamu Noguchi didn't live to see his dream realized. But 17 years after Noguchi first unveiled his design for a "sculptured park" to be built atop a landfill, Moerenuma Park is finally finished. Noguchi's last and largest work of art is 188.8 hectares of landscaped green space. That's big enough to hold 40 Tokyo Domes. It sprawls across flat marshlands that stretch north of Sapporo and cost 25 billion yen to complete. It was the sculptor's bequest to Sapporo, a city Noguchi once said he felt close to because it reminded him of the America he experienced during his youth. Noguchi was born in Los Angeles in 1904, the son of an American mother and a Japanese father. He and his family moved to Tokyo in 1906, and he returned to the United States in 1918. Innovative and versatile, Noguchi created many sculptures and designed grand public spaces, including the distinctive water fountain that became a symbol for Osaka's Expo '70. He died in 1988, just one month after revealing the final plans for Moerenuma Park, situated a 30-minute drive north of Sapporo. The park's grand opening was held on July 1. It takes about an hour to walk completely the park's 4-kilometer circumference. The summer air carries the fragrance of fresh-mown grass and clover. The pleasant vistas include marsh waters glistening in the sun and stands of white birch and Japanese larch trees. Probably few, if any, hikers strolling around would suspect that 2.7 million tons of waste are buried below their feet. When the city of Sapporo first conceived the idea of redeveloping the land 23 years ago, it was just empty pastures and a crescent-shaped marsh. Sapporo planned parks and a green belt to encircle the city's center. The city hoped to combine its need for the landfill with the park idea. The marsh was to serve double duty as a reservoir, a way to cut down on the costs. Young entrepreneurs impressed by Noguchi's ideas and international lifestyle introduced the artist to the city, which then commissioned the artist to design the park. In 1988, he visited the landfill site, donned rubber boots and spent three hours mucking about in the debris-strewn mud and water. Noguchi liked what he saw. He envisioned the entire park coming together as a single sculpture. Although he was in his 80s, Noguchi was an active man, flying from his home in New York to Sapporo and Tokyo, to meet with planners and others working on the park project. In November 1988, at a gathering to celebrate his 84th birthday, Noguchi unveiled his 1/2000-scale model of Moerenuma Park. Beaming, he pronounced the master plan complete and said the rest could easily be handled by the people involved with the project, many of whom were at his party. Noguchi died one month later. But despite having the overall blueprint, many of the fine details weren't specified. It was anyone's guess what Noguchi may have intended. So the architectural firm that took over the project researched Noguchi's past works, looking at parks and other works he had created. Construction began in earnest around 1992. The first components, including the Glass Pyramid and the Moere Mountain, which is about 1.3 times the area of the Tokyo Dome, began to take shape. The final monument was the Sea Fountain, completed in March 2005. It opened July 1. Along the way from conception to completion, Moerenuma Park spurred the creation of many civic organizations that are involved in its management. One such group is the Moere Fan Club. Noguchi produced works all over the world, such as his 1955 landscaping of the Philip A. Hart Plaza in Detroit, Michigan-a challenge that created a vibrant center where once there was urban desolation. His riverside park remains a focal point for festivals and public gatherings. Hitoshi Yamamoto, 57, Moerenuma Park director, was in Sapporo's landscape and gardening division when the Moerenuma Park project was conceived. "A park can be much more, or much less, than it was designed to be, depending on how it is managed. I hope to keep on working on this project, together with the people of Sapporo," Yamamoto said.(IHT/Asahi: July 29,2005) http://www.asahi.com/english/Herald-asahi/TKY200507290223.html **************** The Asahi Shimbun, 07/29/2005 INGENIOUS VISION/Moerenuma a sculpture that doubles as playground By SANZO TANAKA The final phase of Sapporo's Moerenuma Park, a project that was years in the making, opened to the public this month. It is the last gift of sculptor Isamu Noguchi. Everything about the park reflects Noguchi's philosophy and his sense that his art should "serve a purpose." This sculptured park, which capped Noguchi's more than 50-year illustrious and creative career, has none of the sterile detachment of famed yet impenetrable works of art. Nor does this sweeping outdoor gallery give any hint that it was built on landfill. The landscapes were created piece by piece, with each of the 15 facilities and sculptures opening to the public independently. The last stage of the project was finally opened on July 1. From the impressive 30-meter Play Mountain that dominates the park to the futuristic Tetra Mound, a 13-meter metal pyramid that sits atop an earth dome, this park offers attractions like no other. For children, the Sakura-no-mori cherry wood, with its modern play equipment, is like a dream come true. The 52-meter pudding-shaped Moere Mountain was completed last fall. In the center of the park, the Sea Fountain shoots water 25 meters into the air in streams that curl and spiral in a dreamy 40-minute show. Noguchi said his inspiration for a "park as a sculpture" came in 1933. During his lifetime, Noguchi designed about 20 parks. He also created sculptures in all sorts of mediums-from small metal objects to huge stone monuments. Noguchi is also well-known for his elegant Akari bamboo and paper light sculptures. Unquestionably, the Moerenuma Park is a fitting culmination to Noguchi's park projects, many of which were on gigantic scale. Noguchi spent much of his life traveling. He visited many exotic, far-away places, always taking the opportunity to delve into peoples' lives, their customs and traditions. The journey that led to the creation of the Sapporo park was just as extraordinary. When Noguchi died shortly after presenting his blueprints for the park, the Isamu Noguchi Foundation, which inherited the artist's estate, took over the project under the guidance of architect Shoji Sadao. It was brought together by architect Junichi Kawamura, a long-time Noguchi collaborator. Although Noguchi didn't live to see his dream park fulfilled, it bears all the hallmarks of his work: carving his mark upon the Earth and shaping it to his vision.(IHT/Asahi: July 29,2005) http://www.asahi.com/english/Herald-asahi/TKY200507290222.html __________________ with kind regards, Matthias Arnold (Art-Eastasia list) http://www.chinaresource.org http://www.fluktor.de __________________________________________ An archive of this list as well as an subscribe/unsubscribe facility is available at: http://listserv.uni-heidelberg.de/archives/art-eastasia.html For postings earlier than 2005-02-23 please go to: http://www.fluktor.de/study/office/newsletter.htm