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through the last years of the twentieth century, and into the early years of<br />
the twenty-first century, in response to many of the same forces that had<br />
determined it passage through earlier years. <strong>The</strong> determination of many<br />
architects to influence and control the interior spaces of their buildings<br />
continued to play an important role. <strong>The</strong> English architects John Pawson<br />
and Norman Foster, for example, took full responsibility for their interiors,<br />
the former supervising every last detail of his strikingly minimal creations,<br />
the latter controlling the design of many of the items destined for<br />
the inside spaces of his buildings. Many other contemporary architects,<br />
including Arata Isozaki in Japan, Jean Nouvel in France and Frank Gehry<br />
in the us, also sought to control the interiors of their buildings. In recent<br />
years the role of architects as the creators of interiors has been joined by<br />
that of product designers, including the French Philippe Starck, as well as<br />
by fashion designers, the American Ralph Lauren, the Italian Giorgio<br />
Armani and the English Jasper Conran among them. <strong>The</strong> enhanced role<br />
of ‘designer-culture’ in recent decades has meant that all designers,<br />
whatever their specializations, have come to be seen first and foremost as<br />
creators of ‘lifestyles’ and capable, therefore, of designing the interior<br />
environments in which those lifestyles are lived out.<br />
<strong>The</strong> ‘minimal interior’, based on <strong>Modern</strong>ism’s machine aesthetic,<br />
emerged in the 1980s but has sustained its popularity into the early<br />
twenty-first century. It was especially visible in the abstract forms of<br />
late twentieth-century and early twenty-first century commercial spaces,<br />
including Tokyo’s fashion boutiques and international luxury hotels. A<br />
2005 design by the Japanese group Superpotato, led by Takashi Sugimoto,<br />
for the Park Hyatt Seoul Hotel, exemplifies minimalism in action. With its<br />
white walls, minimally furnished spaces and sparse, cantilevered shelves,<br />
Shiro Kuramata’s 1987 store, created for Issey Miyake, provided a highly<br />
theatrical backcloth for the ‘art objects’ displayed within it, while the interior<br />
of Giorgio Armani’s flagship fashion store in Hong Kong, designed<br />
by Claudio Silvestrin in 2002, took the idea of the minimal interior to new<br />
levels. Its exaggerated simplicity and use of concealed lighting produced a<br />
dramatic backcloth for the stylish clothing displayed within it. So ubiquitous<br />
was the minimal interior at the beginning of the twenty-first century<br />
that it even entered the realm of popular television. In a 2004 episode of<br />
the popular bbc comedy series, Absolutely Fabulous, for example, lead<br />
character Edina was so desperate for her kitchen to be in the latest, ‘ultraminimal’<br />
style, she had her angst-ridden, heavily bespectacled female<br />
interior designer remove the stairs. 27 On entering the room, Edina nearly 201