Paper Palaces the Architect of the Dispossessed Meets the One Per Cent
Save paper and follow @newyorker on Twitter Profiles AUGUST 11, 2014 ISSUE Paper Palaces The architect of the dispossessed meets the one per cent. BY DANA GOODYEAR Ban, who has been celebrated for his socially conscious architecture, says, “I have no interest in ‘Green,’ ‘Eco,’ and ‘Environmentally Friendly.’ I just hate wasting things.” PHOTOGRAPH BY KOSUKE OKAHARA. he main campus of Vitra, a Swiss furniture company that produces Frank Gehry’s Wiggle Tchair, is an Epcot of contemporary architecture. It includes buildings by Gehry, Herzog & de Meuron, and Tadao Ando; a fire station by Zaha Hadid; and an elegant white factory, shaped like a slice of eight- minute egg, by the minimalist Japanese firm Sanaa. All these architects have won the Pritzker Prize, the field’s highest honor. The work of this year’s laureate, Shigeru Ban, has also been displayed at Vitra. Huddled on a lawn, his structures, three fifty-dollar tents sheathed in standard-issue plastic tarps from the U.N., intended for the refugees of the Rwandan civil war, looked as if any minute they might be loaded on a pallet and removed. Ban’s work lay underneath the plastic: a simple skeleton of recycled-paper tubes, fitted together with plastic joints and braced with ropes describing the pattern of an unfinished star. Ban, who has built museums, mansions, corporate headquarters, and a golf-course clubhouse in South Korea, takes pleasure in distinguishing himself from his peers, and in pointing up their excesses: not much of their work could fit into a kit that comprises eleven elements (Paper Tube A, Paper Tube B, plastic peg), including the bag.
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