Part 5, Project 3 (Clouds and pillars) – Kusama, Bouroullec & Straub

Describing context

Infinity Mirrored Room (1998), Yayoi Kusama

  • Art: visual, nonfunctional
  • Temporary: part of the ‘Organic’ exhibition (1998-99) in the Palais des Arts, Toulouse, France (
  • Large scale: room-sized installation
  • Transforms and defines space and forms with use of color (white dots over bright red background) and pattern / repetition of different-sized dots. Mirrored walls “increase” space, creates illusion of infinity.
  • Immersive experience, viewer completely surrounded by pattern, plays with perception and illusion

I was lucky enough to attend Yayoi Kusama: Infinity Mirrors in the Hirshhorn Museum, Washington, DC this very year. It was an amazing and incredibly immersive experience. There is a blog post dedicated to this visit.

Clouds, Ronan and Erwan Bouroullec

Clouds, ­2008” by n e o g e j o is licensed under CC BY-NC-ND 2.0
  • Art and/or design: can be decorative and/or functional, commercial product
  • Temporary and/or permanent: can be arranged and re-arranged, resulting in temporary and evolving forms, and easily moved and set up/taken down. Could also be left permanently as an installation.
  • Large scale and small scale: modular tiles made of thermo compressed foam and fabric that can be joined together with elastic bands to create different-sized “clouds”
  • Transforming: can be used to divide space and absorb sound, adds colour to place
  • Forming: forms different shape(s)
  • Immersive and/or distant: can be directly manipulated by consumer, becomes part of the space, made of a soft material. Can be appreciated from a distance as a piece of art or decoration.
  • Pattern is created with the repetition of the modules, can take different shapes
  • Eleven different color combinations

Moquette textile (1970), Marianne Straub

  • Design: commercial design, used in a functional context, upholstery
  • Permanent: woven textile made to be durable and with anti-stain qualities
  • Large scale: applied to all new London buses and trains entering service from 1969 until 1978 (
  • Transforming and defining: was part of and altered public transport, brought attention to textiles in an everyday context
  • Immersive and distant: experienced close-up, touched, meant to be sat on. Could also be appreciated from afar (e.g. on empty carriages and empty seats).
  • Pattern, repetition, color: Repetition of geometric pattern, repeated application. Navy, bright green, sea green and blue.

Photograph of an Underground car with Marianna Straub’s design


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