And so, as Japan’s 2015 cherry blossom viewing (花見) season draws to a close , it’s time to reflect upon what these flowers have come to mean to us.
A cherry blossom is the flower of any of several trees of genus Prunus, particularly the Japanese Cherry, Prunus serrulata, which is called sakura after the Japanese (桜; さくら). Currently it is widely distributed, especially in the temperate zone of the Northern Hemisphere such as: Europe, West Siberia, China, Japan, United States, etc. (ref.)
Cherry blossoms are getting to be widely distributed in the virtual world as well. Here’s four renders of W57th Street, courtesy of BIG/Glessner Group. “Yikes – they’ve got the joint surrounded!” Glessner and BIG have history. Here’s their 2009 VIL School With Cherry Blossom.
That same cherry tree went on to have further adventures in America .
London also has its fair share of cherry trees, most recently those associated with Rafael Viñoly’s 20 Fenchurch Street death-ray generator. It’s risky enough on the ground but radioactive cherry blossoms in the Sky Garden up top are a sinister infra-pink.
Eternal spring beats grim realities. We know we’re being cheated, but more on this later. Here’s some cherry blossoms from a virtual Italy. No vertical forest is complete without a cherry blossom farm.
Just as a side-note, before and during cherry blossom viewing season, Japanese people often make polite conversation about the stage of cherry blossoming they most prefer viewing. It’s taken as an succinct indicator of character type whether one prefers 1) the fresh beauty of barely blossoming and full of promise, 2) the splendrous beauty of promises fulfilled, or 3) the fading memory of promises fulfilled. There’s added kudos for appreciating those sexually charged moments between 1) and 2) or the varying degrees of inevitable pathos between 2 and 3), and yet more kudos for articulating the appreciation of some tertiary stage even more fleeting. But Japanese will be Japanese, aestheticising everything. For us in cherry blossom render land, it’s always full-on.
But cherry blossoms in Arizona – really? This next image has the contrivedly balanced colour palette of a Chinese poster. It may not be accidental.
This one’s from homedesigning.com.
You’ll remember this turgid scene from The Third And The Seventh. Or maybe not. Sensing demand, CGI specialists share their triumphs and notes on how to best render cherry blossom trees. This is Tech Plaza Changsha (claimed to be) “for Austrian architectural company COOP HIMMELB(L)AU in 2013”.
Here’s one from Snøhetta for, it seems, a new kitchen for a French laundry in California.
Snøhetta and friends MIR are responsible for this next. It has a dreamy, surreal whimsy.
Not unlike a Chagall. But overall less gloomy. And with more pink.
Heatherwick (“Best of Class”) Studio isn’t beyond adding what seems to be cherry blossom as the eleventh of Bombay Gin’s famous botanicals although, to be fair, at this distance, it could be an almond tree.
It seems unfair to call this next building a “roadside café” but that’s what inhabitat did. These images are unique in that the cherry blossom trees are real. Imagine that!
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On the zero–to-ten scale of EVERYTHING THAT’S WRONG IN THE WORLD it’s not that important but have you noticed ArchDaily doesn’t make any distinction between photographs and visualisations? It’s all “photographs” to them. This is not right. The architectural marketplace has been slow to adapt to online selling but is now beginning to fully embrace it like anyone else with product to shift, hoping to convert likes into sales. In ignoring the distinction between reality and image, ArchDaily are going with the flow. In blurring that distinction, they’re really just lowering standards of content and therefore facilitating the flow of imagery from producers to consumers and, in the grand scheme of things, maintaining their advertising revenue.
I don’t know how this advance of the cherry blossom trees is going to end but I have a bad feeling. Like Macbeth had about the forest.
In a last attempt to work out what this all means, I avoid the haiku poets’ poet Bashō, and instead consult poet-for-the-people, Issa Kobayashi (1763-1828).
Twenty thousand poems! This is really quite a lot. Though none are very long.
And what did I learn? Inconclusive conclusions, but I sense a trend.
In haiku, cherry blossoms often indicate an ethereal beauty or the transitory nature of existence. Or both. Or something else.
末世末代でもさくらさくら哉 (masse matsudai demo sakura sakura kana)
The world is corrupt, approaching the end of days … but cherry blossoms!
[ how easily we are distracted from what desperately needs putting right ]
米袋空しくなれど桜哉 (kome-bukuro munashiku naredo sakura kana)
I know my rice sack is empty but just look at those cherry blossoms!
[ people stupidly prefer pleasure to nourishment ]
大かたは泥にひつつく桜哉 (ôkata wa doro ni hittsuku sakura kana)
Most of them end up trodden over in the mud … those cherry blossoms.
[ we choose to not see the bigger picture ]
神風や魔所も和らぐ山ざくら (kamikaze ya madoko mo yawaragu yama-zakura)
Their divine wind makes an evil place less evil mountain cherry blossoms
[ renders of shit buildings look better with a few cherry trees ]