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CNN
06-06-2025
- Entertainment
- CNN
He drove a bulldozer at Asia's first World Expo. Now, he's one of the event's star architects
In 1970, when the World Fair came to Asia for the first time, Shin Takamatsu was just a student. The aspiring architect was studying at Japan's Kyoto University while supporting a wife and young child, but he desperately wanted to be involved. This was, after all, one of the foremost architectural showcases in the world: over its history, iconic landmarks including the Eiffel Tower, the Statue of Liberty, and the Space Needle were first displayed at the event. So when he heard that the event's construction site in nearby Osaka needed bulldozer drivers, he jumped at the chance, quickly getting his license and taking up a lucrative part-time job that gave him a front-row seat to watch the expo come to life. 'It was an exhilarating feeling to be in the middle of a tremendous creative phase,' Takamatsu recalled. 'Many dazzling, futuristic buildings were being constructed. But as I watched them, I felt that something was missing.' As a student, he didn't know exactly what that was. But the experience stayed with him, and over the years, it shaped his approach to architecture. 'I came to realize that the future cannot be envisioned solely by looking forward. By looking toward the past and interpreting and understanding it, we can develop a perspective on the future,' he said. In his latest project, his architectural philosophy and personal story come full circle: at Expo 2025 Osaka, Takamatsu returns to the event as the architect behind one of its most striking buildings. The pavilion — run jointly by housing company Iida Group and Osaka Metropolitan University — is modeled after a Möbius strip, which 'continues endlessly in a single loop,' and reflects 'reincarnation or sustainability,' explained Takamatsu. The pavilion looks like a delicately wrapped gift box, covered in a vibrant red, cherry blossom-adorned Nishijin brocade — a traditional textile that has been woven in Kyoto for 1,500 years and is typically used for luxury goods, like kimonos and obis, a kind of belt sash. Over 3,500 square meters (37,600 square feet) — the equivalent area of more than eight basketball courts — of the handmade silk material covers the pavilion's exterior, setting a Guinness World Record for the largest building wrapped in Jacquard fabric — a material with the design woven directly into the textile — and another for the largest roof in the shape of a fan. For Takamatsu, the historic textile represented the perfect way to bridge the past and future. 'It is the culmination of techniques that have been continuously refined over those 1,500 years,' he said, adding that architecture like this 'cherishes history and traditions, while proposing a future based on them.' While the use of fabric in architecture is uncommon, textiles have been used in manmade structures for tens of thousands of years. Bedouin tents in the Middle East, Native American teepees, and yurts in the Steppes of Central Asia and Mongolia are all examples of nomadic, semi-permanent structures where fabric provides warmth and protection from the elements, while being lightweight and flexible enough to carry. But modern architects have been reluctant to use fabric in construction, said Sukhvir Singh, a design professor and textiles expert at Shree Guru Gobind Singh Tricentenary University, in India, which he attributes to a lack of familiarity with the materials and their technical properties. It wasn't until the 1960s that architects began experimenting with fabrics: German architect Frei Otto was one of the pioneers of lightweight architecture, and at Expo 1967, hosted in Montreal, his design for the German Pavilion used a tensile steel structure to support a lightweight polyester canopy, leading to its nickname, 'the floating tent.' Since then, textiles have been used frequently in temporary structures for major events, such as the Olympics or World Expos. 'During these mega gatherings, we have less time, and we have to erect many buildings as soon as possible,' explained Singh, adding that textiles, which are lightweight and are largely prefabricated off-site, are often the obvious solution because of their low cost, flexibility, and ease of installation. And there's been a lot of development in the strength and durability of fabrics in recent decades, with carbon fiber-enhanced fabrics that 'are stronger than steel,' as well as 'high-performance textiles' that can provide added functionality to building facades, such as self-cleaning or energy harvesting, said Singh. But using handmade silk brocade is quite different from using synthetic polyesters, and there were many technical challenges to overcome for Takamatsu's pavilion. For example, the textile is 'weak against rain, typhoons, and wind,' so it had to be given a special coating and insulating layers to make it fire and climate-resistant, explained Takamatsu. The fabric was made by HOSOO, a company that's been weaving Nishijin brocade since 1688. Takamatsu approached Masataka Hosoo, the 46-year-old, 12th-generation president of the family business, about four years ago — who was eager to take on the 'unprecedented challenge' of transforming a heritage textile into an architectural structure. 'In fact, I had been nurturing the idea of architectural textiles for over a decade,' explained Hosoo. Nishijin brocade had been declining in demand for decades: in 2008, sales of the fabric had fallen by 80% from 1990. Hosoo saw the need to adapt his family business to modern consumers' needs. So in 2010, the company developed 'the world's first loom' capable of weaving Nishijin textile with a width of 150 centimeters (58 inches), nearly five times the typical width, according to Hosoo. 'Expanding this technique to a much wider format was a significant challenge, requiring extensive innovation and technical precision,' he added. The larger loom enabled the company to apply its fabric beyond kimonos, into products such as cars, camera accessories, and furniture, and has led to collaborations with luxury brands like Gucci and Four Seasons. When it came to weaving the brocade for the pavilion, the larger loom was essential — and even then, it still took a team of multiple artisans and engineers two years to produce the required volume of fabric. 'The shape itself isn't that difficult, but because it's a form that writhes like a dragon, each part has to be bent, and no piece is identical,' said Takamatsu. To help with this process, HOSOO developed proprietary 3D software that could map out the textile, aligning the pattern precisely across the complex curves of the building. 'The possibilities for textiles are limitless. We're excited to further explore how textiles can transform architecture and expand into entirely new domains,' said Hosoo. The Expo in Osaka will run for six months, through to October 13 — at which point, the future of the kimono fabric-covered pavilion is unknown. Historically, Expo pavilions are 'momentary' pieces of architecture that are often dismantled. Some architects lean into that, with eco-friendly construction materials that can be recycled or biodegrade quickly, or modular designs that are easy to disassemble and rebuild. On the other hand, some structures have become so iconic, they've outlived their intended six-month lifespan by decades: the Crystal Palace, which housed the inaugural World Expo in London in 1851, was relocated after the exhibition and remained standing for more than 80 years; and the 'Atomium,' the flagship structure of the 1958 expo in Brussels, Belgium, was so popular that the city decided to keep it, renovating the monument in 2006. In terms of engineering, 'creating architecture that only lasts six months is the same as creating one that lasts 100 years,' said Takamatsu. So while the future of the brocade-covered pavilion is uncertain, Takamatsu hopes it will be relocated to a permanent location, such as the Imperial Palace in Tokyo. Looking around the Expo site, Takamatsu is heartened by the varying responses to the event's theme, 'Designing Future Society for Our Lives.' Whether the buildings live on or not, the ideas behind them will — which Takamatsu hopes will inspire a generation of architects, just as they did him in 1970. 'It's not just one design, but rather, various designs resonating with each other, creating a future that sounds like a symphony. I believe this is the greatest message of this pavilion, as well as the many other pavilions at the Expo.' Additional reporting by Yumi Asada and Hazel Pfeifer, CNN.
The Verge
02-06-2025
- General
- The Verge
Moving sucks, but decluttering helps
Moving sucks. Ever since leaving college more than a decade ago, I've only lived in apartments, so I've had to get good at living small and managing my inventory of belongings before, during, and after a move. A lot of what makes that possible is that I really like decluttering. But it didn't come naturally — it's a skill I've had to practice, learn, and occasionally fail at. So I thought I might share my experiences here in case you find it helpful for a current or future move. I got good at decluttering when my wife (then girlfriend) and I decided to downsize from a one-bedroom apartment to a studio. We loved the one-bedroom for a lot of reasons, including its view of Seattle's Space Needle. But eventually, we realized we could afford to live in a more walkable part of the city if we could squeeze into a studio. That meant reckoning with the volume of stuff we had each brought into the apartment. Our move into the one-bedroom apartment was two people stuffing their separate lives into one. Our move into a studio meant we had to really decide what would make the jump to the next phase of our lives. It was an emotional thing. We made the decision to downsize a while before we actually packed things up. This was right around when Marie Kondo's The Life-Changing Magic of Tidying Up was blowing up, and while I know that book (and the discourse around it) has become something of a meme, it had a lot of advice that we found very useful at the time and have used for all of our moves after. Yes, Kondo's concept of keeping things that 'spark joy' is vague, unscientific, and inexact. But if you're facing a mountain of clothes or a pile of books that you know you have to sort through in order to make space in your new place, it's a great framework you can use to begin to chip away at those piles. With every declutter I've done, I've found that starting is the hardest part, but once you get the ball rolling, it becomes much easier. I've found that I'm most successful when I start with things that I don't really care about. Moving is already stressful, so diving first into an overflowing but beloved collection of gadgets isn't the best tactic for me. Usually, sorting through clothes is where I begin — I keep my wardrobe pretty basic and I don't buy a lot of clothes, so I'm not super precious about them. I save gadgets and games for later (I work at The Verge, after all). One other thing I've learned: once you've decided what to remove from your home, you still have to find a place for that stuff. That can be its own source of frustration, especially if you're short on time ahead of a big move. We have an article all about how to responsibly get rid of the stuff you've decluttered, if you want some ideas. But once you get rolling on decluttering, it can feel great. I find great satisfaction in sorting through stuff, finding what I don't need, and getting it out of the house to free up space. I like it so much that I've actually learned — the hard way — that you can take things too far. My biggest regret is that, ahead of that move, I tossed many books that, while they didn't actively 'spark joy' in me, had sentimental value. I do pretty much all of my reading on an e-reader, so I figured that, to save space (and my back), I could get rid of just about every book that I owned. That included my high school yearbooks, which I justified because I never actually looked at them and because they just sat in the bottom of a box in my closet. But now that I have a baby, I wish I had those yearbooks stashed somewhere so that I could show them to my kid when they get older. I also shouldn't have decluttered my old, tattered copies of the Harry Potter series I grew up with. Similarly, they took up space and I wasn't actively reading them, and while it was a difficult choice to toss them, I figured it was time for me to move on. But in spite of what we now know about J.K. Rowling, I still have good memories of those books, like getting sucked into the Quidditch World Cup for the thousandth time or waiting at a midnight book release with friends. I wish I could pick them up and flip through them again. I've even been overzealous about decluttering old hardware and game consoles. Sure, I wasn't playing my Nintendo 3DS very much anymore, but now I really wish I had it so that I could play some of the games I had collected. I've found that, in general, I don't miss the vast majority of things that I've gotten rid of Even if I have a few regrets, I've found that, in general, I don't miss the vast majority of things that I've gotten rid of. And building those decluttering muscles the first time helped us tremendously with later moves, too. When we moved from Seattle to Portland, we picked a studio again to get cheaper rent, and we were able to do that because we didn't have a bunch of stuff. It also meant we could put everything we owned into one of the smaller U-Hauls, which made a cross-state move less painful than it could have been. We're not in a studio anymore. We eventually moved to a two-bedroom condo because we knew we wanted to start a family, and we realized that a studio might be a bit tight for two adults and a growing kid. (If you are parents who raise a family in a studio, I salute you.) In many ways, though, we still try to treat our larger place as if it's a studio, even with our new 'roommate,' who needs a lot of gear. We've gotten quite good at keeping our possessions under control, an especially valuable skill when you're dealing with the chaos of a toddler. If we ever have to move again — and presumably, someday we will — we will hopefully be able to do the required declutter with as little stress as possible. Decluttering sometimes gets a bad rap, and I would never say it's easy. But it's a skill that I'm glad that I've had to learn through many moves. I know that because I can do it, my eventual next move will be just a little bit easier.
Yahoo
24-05-2025
- Business
- Yahoo
New Seattle Space Needle 'Skyliner' double-decker elevator lifts off
The Brief The first Space Needle Skyliner elevator was unveiled on May 23. It is a double-decker elevator and features floor-to-ceiling glass for improved city views. It is the first of its kind to exist in North America. SEATTLE - The Space Needle debuted its first double-decker elevator on Friday, the first of its kind in North America. Seattle Space Needle visitors now have the opportunity to make their way to the top of the tower in the 'Skyliner,' a floor-to-ceiling glass, double-decker elevator. The backstory A $100 million private investment has propelled the modernization of the Space Needle's Century Project, and the new elevator marks the beginning of the last phase of renovations. The Space Needle has focused its remodel on the preservation of the popular attraction, ensuring the 56-year-old landmark keeps its long-term relevancy. "The new elevator is more than a way up, it's a symbol of where we're headed," said Space Needle President & CEO, Ron Sevart, in a statement. "This reinvestment reflects our commitment—to our Guests, our Team Members, and our community—to ensure the Space Needle remains a symbol of Seattle's innovative spirit for generations to come." The Needle has modernized 'The Loupe,' the world's first and only revolving glass floor as well as parts of the interior, 'Skyriser' glass benches, and now the new elevators. This Skyliner elevator is the first of multiple elevators to go through this transition and modernization and was inspired by some of the original sketches and ideas of the early Space Needle plans. What we know Each of the double-decker elevator cabs features floor-to-ceiling glass and has been built to withstand the strong winds coming from the Puget Sound and the famous Seattle rain. Additionally, a designated glasskeeper team coats several glass panels each week with a special glass cleaning solution and water-repellent to keep views clear. The glass provides a wider view of the city, views of the double helix core stairway, and the ability to see the inside of the Space Needle through a large backside panel that is made entirely of glass. The double-decker feature of the elevator will allow the needle to transport more visitors up and down through two loading levels at the top and bottom of the tower. The remaining two elevators are scheduled to be modernized into Skyliners by 2028. Keep reading for more information about visiting the Space Needle in Seattle. General Admission (ages 13-64): Prices typically range from $35-$45. Discounts are available for youth ages 5-12 and seniors 65 and over. Children 4 and under: Free. Variations: Prices can vary by time of day and season. Booking tickets online is recommended, and discounts are often available for groups, military, King County residents, and tribal members (these discounts are typically only available at the admissions office with ID). Combo Tickets/CityPASS: Visitors can save by bundling their Space Needle visit with other Seattle attractions like Chihuly Garden and Glass. The Seattle CityPASS offers significant savings for multiple attractions. The Space Needle is generally open daily. Friday, Saturday, Sunday, Monday: 8:00 AM – 11:00 PM Tuesday, Wednesday, Thursday: 9:00 AM – 10:00 PM Timed Tickets: Arrival times are scheduled in 15-minute increments. It's advisable to check the official Space Needle website for the most up-to-date hours as they can fluctuate. Most people spend 1 to 2 hours at the Space Needle. It's recommended to take the Seattle Center Monorial, the nation's first full-scale commercial monorail system which provides a quick link between downtown Seattle and the Space Needle. Parking Near the Space Needle: Seattle Center 5th Ave. N. Garage: Located at 516 Harrison St, Seattle, WA 98109, it's about a mile from the Space Needle. It's open 24/7. Seattle Center 5th Ave. N. Garage KOMO Plaza Garage: Located at 451 John St, Seattle, WA 98109, approximately 1.1 miles away. KOMO Plaza Garage Republic Parking (Memorial Stadium Parking): Located at 401 5th Ave N, Seattle, WA 98109, it's about 0.9 miles from the Space Needle and open 24/7. Republic Parking (Memorial Stadium Parking) Republic Parking: Located at 130 5th Ave, Seattle, WA 98109, approximately 1.1 miles away. Republic Parking U-Park Lot #90: Located at 551 Denny Wy, Seattle, WA 98109, about 1.2 miles away and open 24/7. U-Park Lot #90 The Source Information in this article is from a Space Needle press release and the Space Needle website. Luxury Seattle hotel sues 'nuisance' building next door Firefighters in western WA train for possibility of 'above average' wildfire season Shawn Kemp lawyers claim bias in Tacoma Mall shooting case as trial nears Federal judge blocks Trump's dismantling of the Department of Education 'Where is Teekah?': Mother speaks out after Tacoma, WA cold case Activist marks 2 weeks in tree to protest logging near Port Angeles Driver arrested after deadly crash in Kent, WA To get the best local news, weather and sports in Seattle for free, sign up for the daily FOX Seattle Newsletter. Download the free FOX LOCAL app for mobile in the Apple App Store or Google Play Store for live Seattle news, top stories, weather updates and more local and national news.
Geek Wire
23-05-2025
- Entertainment
- Geek Wire
Space Needle doubles the pleasure in ride to the top with new stacked, glass elevators
Geek Life: Fun stories, memes, humor and other random items at the intersection of tech, science, business and culture. SEE MORE A double-stacked glass elevator at the Space Needle enhances the views of Seattle in the tower's latest modernization effort. (Space Needle Photo) The Space Needle is getting doubly cool. Visitors to the iconic Seattle tower can now ride to the top in a double-decker, floor-to-ceiling glass elevator — the first of its kind in North America — in the latest design twist during the building's multi-year modernization project. Opening today, the Skyliner elevators allow visitors to see the mechanics of the elevator, the internal double helix core stairway of the Needle, and an expanded view of Seattle and beyond. The design was inspired by early sketches of the Space Needle, which opened as the centerpiece of the 1962 Seattle World's Fair. The gold elevator capsules still appear the same from the outside. Changes inside include new cables, counterweights, steel hoistways and cutting-edge machines, according to a Needle news release Friday. 'Construction like this at the Space Needle is like assembling a rocket in the sky,' said Karen Olson, chief operating officer at the Space Needle, in a statement. 'We are doing work on the Space Needle that has never been done before, at 500 feet in the air. It takes an incredible amount of hard work and dedication by our construction partners to make this dream a reality.' Each Skyliner elevator cab features floor-to-ceiling glass. (Space Needle Photo) Glass — and lots of it — is a major signature of the improvements being made to the Needle as part of the 2018 Century Project. As part of 176 tons of glass being added, there is now a revolving glass floor that is one of a kind in the world, and one-ton tilted glass panels on the outdoor observation deck, which GeekWire first got a look at seven years ago. The two other elevators on the building are scheduled to be modernized and open by 2028 as part of the privately funded $100 million effort. Longtime elevator manufacturer Otis is managing the modernization project. Otis built the original Space Needle elevators, as well as those at the Eiffel Tower. And, at the other end of Seattle in Pioneer Square, it built eight manually operated cutting-edge elevators for that building when it opened in 1914. Seattle-based architecture firm Olson Kundig designed the new cabs, LMI Aerospace engineered them, and Turner Construction is serving as the general contractor. Check out a video of the TODAY show's visit to the Needle and view of the elevators:
Yahoo
23-05-2025
- Business
- Yahoo
READY FOR LAUNCH: SEATTLE'S SPACE NEEDLE DEBUTS NEW, DOUBLE DECK ELEVATOR
Opening Memorial Day weekend, Space Needle unveils the ultimateglass experience with a first of its kind elevator. SEATTLE, May 23, 2025 /PRNewswire/ -- Seattle's globally recognized icon has a new way to move you. Visitors to the tower can now soar above Seattle in a floor-to-ceiling glass, double deck elevator, completely transforming the trip to the top. Opening May 23, the Space Needle's new Skyliner elevator is the first of its kind in North America and a major milestone in its multi-year elevator modernization project. Inspired by early sketches of the Space Needle, the new double deck elevator design honors the tradition of innovation and forward-thinking that created the Space Needle back in 1962. Each Skyliner cab features floor-to-ceiling glass, engineered to withstand Seattle's infamous rain and strong winds off of the Puget Sound. The thrilling vertical experience allows visitors to see the mechanics of the elevator, the internal double helix core stairway, and an expanded view of Seattle and beyond. Thanks to a $100 million private investment, the elevator modernization continues the improvements of the 2018 Century Project, which added 176 tons of glass to the Space Needle. The tower unveiled the world's first and only revolving glass floor and an outdoor deck featuring one-ton tilted glass panels that showcase the view on a whole new level. "The new elevator is more than a way up, it's a symbol of where we're headed," said Ron Sevart, Space Needle President & CEO. "This reinvestment reflects our commitment—to our Guests, our Team Members, and our community—to ensure the Space Needle remains a symbol of Seattle's innovative spirit for generations to come." The Space Needle's other two elevators are scheduled to be modernized and open by 2028. The new Skyliners are designed to take your breath away—eight-foot glass walls reveal sweeping views of Seattle, the Puget Sound region's natural beauty, and the Space Needle's inner structure. But some of the most impressive changes are less visible: new cables, counterweights, steel hoistways and cutting-edge elevator machines—also the first of their kind in North America. The iconic look from afar, with its gold capsule enclosure is about the only thing that hasn't changed. "Construction like this at the Space Needle is like assembling a rocket in the sky," said Karen Olson, Space Needle Chief Operating Officer. "We are doing work on the Space Needle that has never been done before, at 500 feet in the air. It takes an incredible amount of hard work and dedication by our construction partners to make this dream a reality. We are so thankful to the generations of tradespeople who've had their hand in making the Space Needle a symbol of Seattle's innovation, optimism, and forward thinking." Otis, the world's leading manufacturer of vertical transportation systems, is managing the elevator modernization project; Otis built the original Space Needle elevators, as well as those at the Eiffel Tower. Otis also modernized the Space Needle cabs in 1992 and has provided maintenance services since the Space Needle opened. Seattle-based architecture firm Olson Kundig designed the new cabs, LMI Aerospace engineered them, and Turner Construction is serving as the general contractor. Construction teams worked around-the-clock to make the necessary upgrades, all while the Space Needle remained open for visitors. The modernization project was approved by the City of Seattle and the Seattle Landmarks Preservation Board. As for the old elevator cabs, interested parties are welcome to inquire at The Space Needle isn't just reaching for the future—it's arriving in a spaceship built to take us there. About the Space Needle Built as the centerpiece and inspiration for the 1962 Seattle World's Fair, the Space Needle has since become a part of the Seattle experience and the globally recognized icon for the city. The Space Needle's recent $100 million renovation added more than 176 tons of glass to the structure offering unparalleled views of Seattle and introduced The Loupe—the world's first and only revolving glass floor. Open year round, the Space Needle hosts more than a million visitors per year. For more information visit: About Olson Kundig Now in its sixth decade of practice, Olson Kundig is a collaborative design practice whose work includes cultural and museum projects, exhibition design, private and multi-family residential, commercial and mixed-use design (including wineries and sports facilities), hospitality projects, places of worship, interior design, product design and landscape design. With deep roots in the Pacific Northwest, the firm and its team of over 350 work with clients around the world. More information at About Otis Otis gives people freedom to connect and thrive in a taller, faster, smarter world. The global leader in the manufacture, installation and servicing of elevators and escalators, we move 2.4 billion people a day and maintain approximately 2.4 million customer units worldwide – the industry's largest Service portfolio. You'll find us in the world's most iconic structures, as well as residential and commercial buildings, transportation hubs and everywhere people are on the move. Headquartered in Connecticut, USA, Otis is 72,000 people strong, including 44,000 field professionals, all committed to manufacturing, installing and maintaining products to meet the diverse needs of our customers and passengers in more than 200 countries and territories. To learn more, visit and follow us on LinkedIn, Instagram and Facebook @OtisElevatorCo. CONTACT:Amy Cunningham, Space Needle Public Relations Directoramyc@ | 206.905.2106 (office) Genny Boots, Space Needle Public Relations Managergennyb@ | 206.905.2184 (office) View original content to download multimedia: SOURCE Space Needle Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
