Architecture News

In a remarkable display of innovation and sustainability, a pioneering initiative known as the BEARS WOOD PROJECT is redefining the value of timber previously deemed unusable due to natural scarring. This venture transforms wood marked by Asian black bears into distinctive, handcrafted surfboards, showcasing how environmental interactions can lead to unique aesthetic and economic opportunities. By embracing the "imperfections" of nature, the project champions a new perspective on resource utilization.

Transforming Nature's Marks: The Genesis of BEARS WOOD PROJECT

In the verdant woodlands of Keihoku, nestled north of Kyoto's heart, Asian black bears occasionally engage in a natural behavior known as kumahagi, where they strip bark from cedar and cypress trees. This leaves behind elongated marks on the tree trunks. As these trees continue their growth cycle, new layers of tissue form around these wounds, resulting in timber with an unconventional, undulating grain. For traditional forestry practices, these distinctive marks often lead to a sharp decline in the wood's market value, often relegating such timber to fuel or leaving it to decay in the forest. However, this perceived flaw became the very inspiration for the BEARS WOOD PROJECT. Launched in 2022 by Kyoto-based Tsutsumi Asakichi Urushi, in collaboration with local foresters and skilled wood craftsmen from Keihoku, this project specifically seeks out and utilizes timber that has been 'damaged' by bear activity. The initiative's siita brand surfboards proudly feature these naturally altered grains, which are preserved and highlighted through the crafting process. Each surfboard, meticulously shaped from cedar, undergoes a lustrous urushi lacquer coating, which not only protects the wood but also accentuates the unique patterns left by the forest's ursine inhabitants, turning a natural phenomenon into a captivating design element.

A Legacy of Lacquer Meets Contemporary Craft

At the core of this transformative project stands Takuya Tsutsumi, the fourth-generation torchbearer of Tsutsumi Asakichi Urushi, a venerated Kyoto lacquer house with roots tracing back to 1909. For over a century, his family's enterprise has honed the art of urushi application, utilizing this indigenous resin as both a protective sealant and a bonding agent in traditional Japanese crafts. Takuya, who joined the family business in 2004, has been instrumental in expanding the application of urushi beyond its conventional boundaries, integrating it into modern objects such as bicycles, skateboards, and, most notably, surfboards. The siita brand, under Tsutsumi's guidance, is a testament to this innovative spirit. He collaborates closely with Rodrigo Matsuda, a seasoned wooden surfboard artisan with nearly two decades of experience. Matsuda meticulously carves the timber in Keihoku, while Tsutsumi applies the intricate urushi finish. Their workspace, an idyllic century-old renovated farm shed nestled alongside the tranquil Katsura River, is where this delicate craft unfolds. Tsutsumi's mastery lies in his ability to adapt the urushi application process to varying environmental conditions, adjusting for temperature and humidity to ensure the lacquer's perfect viscosity and ultimate sheen, thus producing a flawless and durable finish that honors both tradition and innovation.

The Ripple Effect of Redefining Value

The innovative approach of the BEARS WOOD PROJECT addresses a significant ecological and economic challenge within forestry: the impact of kumahagi, or bear-induced bark stripping. While Kyoto Prefecture acknowledges the environmental significance of this behavior in species like cedar and cypress, it also recognizes the substantial economic losses incurred by foresters due to the reduced commercial value of marked timber. The intricate reasons and precise timing of these bear activities remain subjects of ongoing study. Tsutsumi views the BEARS WOOD PROJECT as a critical endeavor to imbue this 'damaged' timber with renewed economic utility. Rather than discarding the sections of wood bearing these natural marks, the project actively incorporates them, focusing on areas where the tree's growth has uniquely adapted around the wounds. The team commits to purchasing these marked trees from foresters at a fair market price, transforming what was once an economic liability into a valuable resource. Consequently, the distinctive bear scars evolve from an aesthetic imperfection into a coveted design feature, elevating the uniqueness and desirability of each finished surfboard. This philosophy shifts the narrative, allowing these natural imprints to become distinguishing characteristics that tell a story, rather than mere flaws that diminish worth.

This initiative not only salvages timber that would otherwise be underutilized but also creates a compelling narrative about the interplay between nature and craftsmanship. By transforming the marks of the wild into artistic elements, the project brings a deeper sense of connection to the natural world into human-made objects. It reminds us that perceived imperfections often hold untapped beauty and value, waiting for an innovative eye to reveal them. The BEARS WOOD PROJECT serves as an inspiring example of how sustainable practices and creative vision can coexist, fostering both ecological responsibility and economic opportunity.

Experience Art Reimagined: The Hayward Gallery's Transformation

A Bold Artistic Intervention on London's South Bank

Renée Levi, a Swiss artist, has boldly brought her painterly vision to an unconventional setting: the robust concrete facade of the Hayward Gallery in London. Her inaugural major public art piece in the UK, titled "September," unfurls as a captivating two-part painting positioned both above and below the building's distinctive projecting window. This remarkable undertaking, jointly commissioned by the Hayward Gallery and Audemars Piguet Contemporary, introduces a lively palette of fluorescent greens, pinks, blues, and oranges to one of the South Bank's most recognized Brutalist landmarks, dramatically enlivening the typically monochromatic concrete with its vibrant presence.

Redefining the Canvas: Painting Beyond Convention

This initiative also represents a significant milestone for Audemars Piguet Contemporary. While the Swiss watchmaker's art program has supported diverse artistic commissions since 2012, "September" marks its first foray into painting. This particular choice is notably apt, as Levi propels the medium far beyond the confines of a traditional canvas. Instead of merely placing an object in front of the building, she engages directly with its architectural form, incorporating the Hayward's rectangular window—often referred to as the building's 'eye'—as an integral component of her artistic composition.

The Symbiosis of Fluorescent Art and Brutalist Architecture

Levi's artistic approach is deeply rooted in her long-standing philosophy of painting as an act influenced by the body, materials, and the specific location, rather than adhering to a pre-conceived image. Her expressive strokes extend fluidly above and below the window, inherently linked to the physical reach and motion of the painter. In this context, the Hayward Gallery, with its raw concrete, pronounced projections, and distinctive geometric lines, transcends its role as a mere backdrop; it becomes an active material within the artwork itself. The Grade II-listed building, already possessing a powerful sculptural presence, is temporarily adorned with a new, vibrant layer through Levi's intervention.

Innovation in Material and Artistic Exploration

This striking new layer is crafted from industrial mesh, a medium Levi employs for painting for the very first time. Typically associated with large-scale advertising and commercial signage, this material allows air to circulate while effectively supporting the expansive fluorescent marks. This innovative choice represents a subtle subversion of a surface more commonly used for commercial promotion, now transformed into a pure artistic expression. This material experimentation perfectly aligns with Audemars Piguet Contemporary's declared mission: to foster collaborations that empower artists to explore uncharted territories within their creative practices.

A Dynamic Spectacle: Art Interacting with Urban Life

Unlike a painting viewed in the controlled environment of a gallery, "September" actively resists a singular, static perspective. Its appearance transforms dramatically depending on the viewer's distance, angle, the changing daylight, and shadows, seamlessly weaving itself into the ceaseless flow of people along the South Bank. Levi connects this inherent instability to the artwork's title itself: "September" as a month characterized by shifting light, weather patterns, and the ever-evolving rhythms of metropolitan life. For an eight-week duration, daily commuters, international tourists, and even chance observers become its recurring audience, whether or not they had consciously planned to encounter contemporary art that day.

A Legacy of Artistic Collaboration and Innovation

This commission serves as a continuation of Audemars Piguet Contemporary's broader initiative of fostering partnerships with artists and esteemed cultural institutions, a program that has previously featured projects with luminaries such as Cao Fei, Adrián Villar Rojas, Ryoji Ikeda, and Tomás Saraceno. For Levi, this undertaking adds another significant architectural-scale experiment to a distinguished artistic career that has already graced prominent venues including the Palais de Tokyo, Kunstmuseum Basel, and the Lyon Biennale. "September" will remain a vibrant fixture on the Hayward Gallery's facade until November 15, 2026, after which the radiant colors will recede, and the iconic Brutalist structure will revert to its original, stark grey aesthetic.