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  • Patrick Johnson’s Sydney showroom resembles a spacious art gallery with industrial windows, awash with a playful colour palette. The central pit is blanketed in a Barragán pink plush carpet, and there is a mix of custom made and antique furniture, including a 1970s Fornasetti breakfast table and a Murano glass chandelier. “People can relax in here and not have to think about the clothing too much,” Johnson says.

Modern Tailoring, with Patrick Johnson. From the archive, Cereal Volume 13, 2017.

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  • In Sydney, where summer temperatures soar up to 40°C, custom suiting, crafted entirely by hand, hasn’t traditionally been part of the picture. Sydney-sider Patrick Johnson of P. Johnson Tailors, however, has set about changing all that since he set up his business in 2009. His designs fit with the Aussie lifestyle – think lighter fabrics in a contemporary colour palette, and looser cuts. “I wanted something that was soft and natural, and had a sense of sensuality to it,” he says of his line of understated yet expertly crafted suits, shirts, and separates. “That’s the way younger people want to wear clothes.” Modern Tailoring, with Patrick Johnson. From the archive, Cereal Volume 13, 2017.

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#PatrickJohnson
  • The Church of Sky & The Wind Museum, by Itami Jun, on Jeju Island. “Completed in 2009, only two years before his death, the Church of Sky, with a roof made of scintillating zinc triangles, is designed to draw the eye skywards. Shaped like a boat, suggestive of Noah’s Ark, the church is surrounded by a shallow pond, with access by stepping stone bridges.” The pool and roof tiles reflect the changing tones of the sky, and the alternating glass and wood walls further blur the boundaries between landscape and architecture.

Elemental Architecture, from Cereal Volume 19. Order a copy via the link in bio, to read the full story.

#ItamiJun
  • Itami Jun’s Water Museum, designed for Pinx resort, on Jeju: an island to the southwest of the Korean peninsula.

Itami was born in Tokyo to Korean parents, and worked extensively as an architect across Korea and Japan. He first encountered Jeju in 1970, and since then, returned regularly to the island, including at the turn of the millennium to complete his major commission for Pinx resort, designing the Podo Hotel, and three ‘museums’ dedicated to the elements: water, wind and stone. “Itami was never fully Japanese nor fully Korean; Jeju, with its distinct scenery and culture, offered the comfort of a ‘third place’ that helped him feel free from the strong identity of either country.” Elemental Architecture, from Cereal Volume 19. Order a copy via the link in bio, to read the full story.

#ItamiJun
  • In celebration of our Korean theme for Cereal Volume 19, we have created a limited edition cover, featuring a photograph of a Korean pine tree, and ‘Cereal' in Korean Hangul characters.

Pine trees possess a strong cultural significance in Korea, embodying Confucian values of strength, wisdom, endurance, resilience, and longevity. “You only know how green the pine needles are when winter comes.” Order a copy via the link in profile. Limited to 100 copies.
  • “Park’s energy, passion and rigour made him the natural father of Dansaekhwa, the art movement synonymous with artists Chung Chang-Sup, Yun Hyong-Keun, Lee Ufan, Ha Chong-Hyun, Kwon Young-Woo and Cho Yong-Ik. Developed in the 1970s, Dansaekhwa is a fusion of Korean sensibility and fearless abstraction.” “That Dansaekhwa has produced a regimented line of monotone, grey paintings is an ongoing misconception. Lee Ufan, for example, has combined vivid blue and orange in his work … As he once said, “The most important thing is the stroke; colour has no meaning in the work.” Similarly, Yun Hyong-Keun was known for his palette of rich umber and ultramarine. Where his affiliation to Dansaekhwa revealed itself was in the rhythmic, repetitive strokes on the canvas, which allowed the materials, not him, to express themselves. Cho Yong-Ik’s paintings show the respect for materials so intrinsic to Dansaekhwa, but some of his works motion fleetingly towards representation. His ‘Wave Series’ isn’t explicit, but the repeated sweeping gestures marked on the canvas hint at rippling water.” From Cereal Volume 19. Read the full story online via the link in bio.

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