During expo 2020 in Dubai, Cartier The concept of your women’s pavilion: one place: a place dedicated to pursue the important role of women in society today. In six months, more than 340,000 visitors and 50 million spectators participated in programming, with 120-plus talks and panels. In the huge campus of the World Exhibition, the architects in Tokyo elsewhere Yuko Nagayama The Japan was making a powerful statement of its own, depicting the relationship between Japanese and Arabic Vernacular in its design for the pavilion. Fast forward for today, he and the French luxury jewelry and the Watch brand have joined the forces in the expo 2025 in Osaka, Japan, issuing a clear call for all stability-to increase the celebration of women empowerment of cartier.
Open through October 13, the new female pavilion rebuilds some parts of the mesh made for Dubai. Steel rods gathered using ball joints, which re -combine traditional kumico woodworking, in which thin slats of timbers make complex panels, doors and screens without the use of the same nail. In Osaka in Dubai, geometric motifs have referred to Asnoha, or Ganja-Pattar, pattern, often seen on clothing and decorative objects. The thin membrane of the nonflymable PTFE combines diaphragm obstacles, provoking the original, with trees planted and other greenery with the boundaries between the inside and outside.
Cartier’s narrow Osaka site was revalved to fit the site Hundred fujimotoTimber’s Grand Ring- Project called Nagayama “the goal of kinetic architecture”, by which buildings can be suited to their surroundings. She says, “No one tried to reuse from an expo on this grand scale. “We saw it as a great opportunity to display the ability to reuse.”
Their design displays the principles of traditional Japanese aesthetics, emphasizing the major light, shadow and air of them. Such properties achieve a poetic background for immersive interventions seen by ES Deavalin, a global artistic lead of women’s pavilions. These include an introductory film by filmmaker Naomi Cavez; Artifacts by Melani Laurent, Hiro Chiba, and Mariko Mori; And a garden by Toshiya Ogino. Nagayama says, “We wanted to create an attitude that stimulates all the five senses of visitors, open their minds, and prepare them to feel directly and to feel the work of ES Devin.”
