A “fat finger” error at the Tokyo stock exchange Wednesday morning caused orders amounting to 67.78 trillion yen ($617 billion) to be canceled, the London Evening Standard reports.
According to the report, the mistake is “thought to be the most extreme example of a trader in financial markets inputting hopelessly wrong figures while working under intense pressure.”
The largest single order, 1.96 billion Toyota shares worth 12.68 trillion yen, was one of 42 canceled transactions, Bloomberg said.
The so-called “fat finger” trade refers to a human error, like pressing the wrong key, rather than a bug in the trading algorithm.
The Evening Standard quoted Gavin Parry, managing director at Hong Kong-based brokerage Parry International Trading, as saying:
“It’s not rocket science that there was a fat finger here, but it reopens the questions about accountability.”
The shapes of each loft are different and take forms as mundane as a circle and as crazy as an alien from Space Invaders. Live Between Buildings was designed for some of the world’s most cramped cities, including New York and Tokyo. The concept certainly seems viable and it may only be a matter of time before architects begin looking between buildings.
Live Between Buildings is a series of conceptual lofts designed to maximize space in urban areas. These lofts would be built in the narrow gaps between buildings, as indicated by the design’s name. Dutch design duo Mateusz Mastalski and Ole Robin Storjohann created Live Between Buildings for the New Vision of the Loft 2 design award, a contest held by rooftop window maker Farko and the architecture magazine A10 New European.
Tadanori Yokoo is one of Japan’s most successful and internationally recognized graphic designers and artists. He began his career as a stage designer for avant garde theatre in Tokyo.
In the late 1960s he became interested in mysticism and psychedelia, deepened by travels in India.
Because his work was so attuned to 1960s pop culture, he has often been (unfairly) described as the “Japanese Andy Warhol” or likened to psychedelic poster artist Peter Max, but Yokoo’s complex and multi-layered imagery is intensely autobiographical and entirely original.
By the late 60s he had already achieved international recognition for his work and was included in the 1968 “Word & Image” exhibition at the Museum of Modern Art in New York. Four years later MoMA mounted a solo exhibition of his graphic work organized by Mildred Constantine.
In 1968 Yukio Mishima claimed, “Tadanori Yokoo’s works reveal all of the unbearable things which we Japanese have inside ourselves and they make people angry and frightened.
He makes explosions with the frightening resemblance which lies between the vulgarity of billboards advertising variety shows during festivals at the shrine devoted to the war dead and the red containers of Coca Cola in American Pop Art, things which are in us but which we do not want to see.”
In 1981 he unexpectedly “retired” from commercial work and took up painting after seeing a Picasso retrospective at the Museum of Modern Art (New York).
His career as a fine artist continues to this day with numerous exhibitions of his paintings every year, but alongside this he remains fully engaged and prolific as a graphic designer.
Japanese architecture firm Studio Velocity created this curved wall house with a bright white facade and lots of glazing that invites the indoors out. This live work house puts the work space on the main floor, offering easy access for comers and goers, and living rooms upstairs for privacy and the ultimate in views. Here’s the tour.
The trees surrounding this urban house plan truly create a sense of peaceful isolation in this densely populated urban core – not an easy feat!
Large windows and glass doors offer instant access into this green city garden, while flooding interiors with natural sunlight.
The home’s interiors have a certain charm without compromising its contemporary style. The lower level houses a work space, with private living areas upstairs. Wood floors add a warm, earthy quality. We love the chandelier suspended over the desk, and the old-school clock mounted to the wall, so you know the second it’s quitting time! The glass double doors swing open onto the garden and alfresco sitting area.
A cool spiral staircase winds its way up through the house, offering a means to access the upper level while also letting natural light spill down to the lower floor. Open risers allow light and views to spill through, unhindered.
The upper floor features high ceilings and tall windows to invite the green scenes in.
The glazed corner provides the perfect spot to sit and enjoy the view!
And for a closer look of the outdoors, step out onto the circular balcony overlooking the garden and the city.
visitors to tokyo’s miraikan national museum of emerging science and innovation
may find themselves immersed in a kinetic maze of botanical life, comprised of more than 2,300 suspended flowers blooming in a vast white space.
the installation by teamlab invites exhibition viewers to experience
‘floating flower garden’ as a place of both interaction and tranquility, enveloped in a thick abundance of delicate pink petals and lush greenery.
as entrants to the expanse move closer to the flower-filled space, the colorful blossoms
most near to the viewer rise upwards, slowly, all at once, creating a hemispherical space surrounding them.
this ephemeral void is constantly evolving and changing position with each movement within the exhibition and,
if many people move closer to one another, the dome spaces link up to form one single, massive cavity.
the space is envisioned as a site of both interaction and tranquility
as visitors move within the site, a kinetic force slowly moves the flowers up and down
entering the space and prompting the flowers to rise upwards towards the ceiling