The alphabet "I" is tall and confident. It is an elegant stroke of human expression. "I" traces back to Phoenician letter Yodh, the hand, as a representation of an entire arm. The Greeks used a highly simplified version of it for iota (Ι), the nineth letter of the Greek alphabet. The Romans used it as "I", as we know it today.
In geometry "I" is the shortest distance between two points of reference. In high mathematics "i" is the imaginary number. It solves unsolvable complex equations that is rudiment to our present technological civilization. "I" has been the work-horse of human culture since the dawn of time. Pre-historic man used the "I" [ fallen tree trunks] to bridge streams. In 484 B.C., Herodotus documented the first bridge in history built with timber and supported by stone columns accross the Euphrates river some 300 years ago. The tall "I" (column) has been the core of architecture since classical antiquity. Interestingly, the complex nervous system of human anatomy is efficiently catered by "I". We are defiant in the face of gravity.
"I" being deep rooted in our human psyche, we have made it modular, elegant and intelligent. We arrange bunch of "I"s in a linear fashion to create back walls. We use the strength of the "I" in our towers and we use clusters of "I"s in trade show island designs.
The concept of abstract elegance becomes an object of 5 senses in the creative hands of the architect, Sou Fujimoto. He uses Red for the "I" intrigue. He seduces the viewer with the softnes of the white gauze fabric, while exploring the work of Japanese fashion designers in relation to the art, culture and costume history of their country.
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Don’t bend; don’t water it down; don’t try to make it logical; don’t edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly. Franz Kafka