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Architecture News

Sou Fujimoto Uses Light, Mirrors for 2016 COS Salone del Mobile Installation

By Julie Taraska
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Spotlight beams serve as abstract trees in Sou Fujimoto’s Forest of Light installation.

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Fujimoto’s Forest features numerous seats and benches upon which to relax.
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The light beams break through the room’s darkness, fading in and out according to visitor movement around the space.
sou_fujimoto_Forest_of_Light_Milan_2016_COS_04.jpeg
The installation plays with the interaction between light and shadow.
sou_fujimoto_Forest_of_Light_Milan_2016_COS_05.jpeg
It’s all light, smoke, and mirrors in this fashion shoot in Fujimoto’s COS space.
sou_fujimoto_Forest_of_Light_Milan_2016_COS_06.jpeg
Mirrors make the installation at the abandoned Cinema Arti in Milan seem to stretch infinitely in all directions.
sou_fujimoto_Forest_of_Light_Milan_2016_COS_01.jpeg
sou_fujimoto_Forest_of_Light_Milan_2016_COS_02.jpeg
sou_fujimoto_Forest_of_Light_Milan_2016_COS_03.jpeg
sou_fujimoto_Forest_of_Light_Milan_2016_COS_04.jpeg
sou_fujimoto_Forest_of_Light_Milan_2016_COS_05.jpeg
sou_fujimoto_Forest_of_Light_Milan_2016_COS_06.jpeg
April 14, 2016

Exploring the ideas of interaction and perspective, Japanese architect Sou Fujimoto has created an interactive installation at the Salone del Mobile for Swedish clothing brand COS that utilizes only mirrors, cones of light, and a specially composed soundtrack. Called Forest of Light, the piece—which will be on show through April 17 at Milan’s Cinema Arti, an abandoned 1930s theater located in the city’s San Babila district—offers an immersive, shifting landscape where light and shadow overlap, interplay, and change minute to minute.

In the installation, light beams pierce the pitch-black room and then slowly fade in and out as visitors move around the space. The illumination “represents a moment, and then is gone, without anything left,” explains Fujimoto.

The installation builds upon the architect’s forest concept, which he explored in such work as the Musashino Art Museum & Library in Tokyo, which he completed in 2011. Like the COS installation, there are no actual trees, but the layout and fluid edges blur the distinction between not only spaces, but also the built and natural environments.

Fujimoto believes the COS pavilion is his purest realization to date of the idea. “This forest is not static, but light and people interact with one another,” he says. “This interaction connects fashion, space, and forest as a form of architecture."

(Images courtesy COS) 

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KEYWORDS: Milan Salone del Mobile

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Julie Taraska is a former staff writer and editor from 2015 to 2017 at Architectural Record.

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