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Japanese design in the 20th century: from tradition to modernism

wp:paragraph When we think of Japanese design, we think of certain iconic objects such as the Kikkoman soy sauce bottle Kikkoman (Kenji Ek...

Design MarketJuly 2021
wp:paragraph When we think of Japanese design, we think of certain iconic objects such as the Kikkoman Kikkoman soy sauce bottle (Kenji Ekuan), the Sony Sony Walkman, which revolutionised the way people listened to music in the late 1970s and invaded the American and European markets, or high-tech products. However, Japanese design is far from being limited to material and functional aspects alone. At the beginning of the 20th century, it was rooted in a craft tradition that was deeply rooted in the country's culture, before gradually assimilating Western techniques, eventually combining heritage and modernity, before becoming avant-garde in its own right. /wp:paragraph wp:paragraph The first modern Japanese architects and designers had one thing in common: they came to Europe to learn from the great Western masters. With the Bauhaus in particular, Europe was bubbling over with new ideas. Towards the end of the 1920s, Junzō Sakakura (1901-1969) and Kunio Maekawa (1905-1986), two great Japanese figures considered to be among the pioneers of modern architecture and town planning in Japan, worked in Le Corbusier's studio. Under the uncompromising eye of the great Swiss master, they learned the techniques of the time, before returning to their country. /wp:paragraph wp:image {"align": "center", "id":13247, "sizeSlug": "large", "linkDestination": "none"} Aerial view of one of Kunio Maekawa's most emblematic buildings: the Tokyo Metropolitan Festival Hall (Tokyo Bunka Kaikan), designed in 1957 and opened in 1961. The building was Japan's 1st concert hall. The heavy cornice and superstructure of the roof are reminiscent of the work of Le Corbusier, for whom Maekawa had already worked. Aerial view of an emblematic project by Kunio Maekawa: the Tokyo Metropolitan Festival Hall (Tokyo Bunka Kaikan), designed in 1957 and opened in 1961. The building was Japan's 1st concert hall. The heavy cornice and superstructure of the roof are reminiscent of the work of Le Corbusier, for whom Maekawa had already worked. © archeyes /wp:image wp:image {"align": "center", "id":13248, "sizeSlug": "large", "linkDestination": "none"} Another view of the Tokyo Bunka Kaikan. A reinforced concrete structure typical of the Le Corbusier style of the time. The National Museum of Western Art, designed by Le Corbusier himself, stands right next to the hall. Another view of the Tokyo Bunka Kaikan. A reinforced concrete structure typical of the Le Corbusier style of the time. The National Museum of Western Art, designed by Le Corbusier himself, stands right next to the hall. © archeyes /wp:image wp:image {"align": "center", "id":13249, "sizeSlug": "large", "linkDestination": "none"} Tokyo Bunka Kaikan, architect: Kunio Maekawa, 1957. View of the interior of the building, with raw concrete everywhere. Tokyo Bunka Kaikan, architect: Kunio Maekawa, 1957. View of the interior of the building, with raw concrete everywhere. © archeyes /wp:image wp:paragraph It was Junzō Sakakura who suggested to Charlotte Perriand that she become a design consultant for the Japanese Ministry of Commerce. Adventurous, Perriand did not hesitate and returned to Japan in 1940. From her Japanese adventure, Perriand drew inspiration from the Japanese DNA of design to create pieces of furniture that have become cult favourites on her return to France. /wp:paragraph wp:image {"align": "center", "id":13250, "sizeSlug": "large", "linkDestination": "none"} Ombra Tokyo chair, design: Charlotte Perriand, 1954. A light, stackable piece directly inspired by the traditional arts of Japan, particularly the art of folding (Origami), with a very refined design. Ombra Tokyo chair, design: Charlotte Perriand, 1954. A light, stackable piece directly inspired by traditional Japanese art, in particular the art of folding (Origami), with a very pure design © ambientedirect /wp:image wp:image {"align": "center", "id":13251, "sizeSlug": "large", "linkDestination": "none"} 526 Nuage storage bookcase, design: Charlotte Perriand. In Japan, home furnishings come from semi-fabricated elements that are salvaged: tatami mats, doors, partitions, etc. This piece evokes the traditional sliding doors known as "shôji" in Japan and the art of optimising interior space. 526 Nuage storage bookcase, design: Charlotte Perriand. In Japan, home furnishings come from semi-fabricated elements that are salvaged: tatami mats, doors, partitions, etc. This piece evokes the traditional sliding doors known as "shôji" in Japan and the art of optimising interior space. © winkdeco /wp:image wp:paragraph So what is the DNA of Japanese design? It is largely contained in the Mingei Mingei movement (literally, the folk art movement) launched in 1925 and theorised by the Japanese writer, thinker and collector, Sōetsu Yanagi (1889-1961). Inspired by the English Arts Crafts movement, Mingei calls for the revival of traditions and the beauty of everyday objects made from ceramics, wood, lacquer, ironwork, basketry and textiles /wp:paragraph wp:paragraph It excludes all decorative and luxurious artifice, in favour of an object that is "natural, sincere and safe". Japanese design therefore combines traditional craftsmanship (bamboo, wood, lacquer) with the expression of clear, pure and simple beauty. In this sense, Japanese design resembles the Scandinavian approach to design at the time, but without the warmth and cosiness. It excludes all decorative and luxurious artifice, in favour of an object that is "natural, sincere and safe". Japanese design combines traditional craftsmanship (bamboo, wood, lacquer) with the expression of clear, pure and simple beauty. In this sense, Japanese design resembles the Scandinavian approach to design at the time, but without the warmth and cosiness. /wp:paragraph wp:image {"align": "center", "id":13252, "sizeSlug": "large", "linkDestination":"none"}"White Bottle" (vase) in stoneware (glaze technique) by Shōji Hamada (1894-1978), 1965, one of the most famous Japanese ceramists belonging to the Mingei movement White Bottle" (vase) in stoneware (glaze technique) by Shōji Hamada (1894-1978), 1965, one of the most famous Japanese ceramists belonging to the Mingei movement . Pure and elegant... © oxfordceramics /wp:image wp:image {"align": "center", "id":13253, "sizeSlug": "large", "linkDestination": "none"} Stoneware plate Stoneware plate by Shōji Hamada (1894-1978). In Japan, ceramics is a major art form. Shōji Hamada was awarded the title of Living National Treasure of Japan in 1955. by Shōji Hamada (1894-1978). In Japan, ceramics is a major art form. Shōji Hamada was awarded the title of Living National Treasure of Japan in 1955. © oxfordceramics /wp:image wp:image {"align": "center", "id":13254, "sizeSlug": "large", "linkDestination": "none"} "Fishing Boats", 1958. Kimono, stencil-dyed silk gauze, artist: Keisuke Serizawa (1895-1984). "Fishing boats", 1958. Kimono, stencil-dyed silk gauze, artist: Keisuke Serizawa (1895-1984). Keisuke Serizawa was a fabric painter and textile designer. In 1956, he was named a Living National Treasure of Japan for his katazome method of stencil dyeing. He was part of the Mingei movement. He is a fabric painter and textile designer. In 1956, he was named a Japanese Living National Treasure for his katazome method of stencil dyeing. He was part of the Mingei movement. © pinterest /wp:image wp:paragraph 2 other eminent figures in Japanese design gradually succeeded in combining old Japanese craft techniques with innovative new processes developed in the West. They were Sōri Yanagi (1915-2011), the son of Sōetsu Yanagi, whose famous Butterfly Butterfly and Elephant Elephant stools toured the world, and Isamu Noguchi (American-Japanese, 1904-1988), internationally renowned for his Akari Akari lamps, veritable light sculptures, and his Coffee Table Coffee Table . /wp:paragraph wp:image {"align": "center", "id":13255, "sizeSlug": "large", "linkDestination": "custom"} Stool " Butterfly" stool, Sōri Yanagi design, 1954, published by Vitra. The stool is made of maple or rosewood and evokes the wings of a butterfly. The Butterfly combines the essence of Japanese design: purity and the search for an "organic" gesture, combined with the bending technique used by Charles and Ray Eames. Butterfly" stool Butterfly" stool, designed by Sōri Yanagi, 1954, published by Vitra. The stool is made of maple or rosewood and evokes the wings of a butterfly. The Butterfly combines the essence of Japanese design: purity and the search for an "organic" gesture, combined with the bending technique used by Charles and Ray Eames. /wp:image wp:image {"align": "center", "id":13256, "sizeSlug": "large", "linkDestination": "none"} Armchair by Sōri Yanagi. A beautiful and simple, yet practical chair made by Hida Sangyo, a highly respected furniture manufacturer in Takayama, Japan. Hida continues to fuse Western aesthetics with traditional Japanese craft techniques and local materials. Armchair by Sōri Yanagi. A beautiful and simple, yet practical chair made by Hida Sangyo, a highly respected furniture maker in Takayama, Japan. Hida continues to fuse Western aesthetics with traditional Japanese craft techniques and local materials. © ookkuu /wp:image wp:image {"align": "center", "id":13257, "sizeSlug": "large", "linkDestination": "none"} Range of table lamps by designer Isamu Noguchi, published by Vitra. Isamu Noguchi began designing his "akari" lamps in 1951, a term that means clarity or light. These lamps revisit the traditional Japanese art of origami (the art of folding paper). Range of table lamps by designer Isamu Noguchi, published by Vitra. Isamu Noguchi began designing his "akari" lamps in 1951, a term that means clarity or light. These lamps revisit the traditional Japanese art of origami (the art of folding paper). vitra /wp:image wp:image {"align": "center", "id":13258, "sizeSlug": "large", "linkDestination": "none"} Artisan handcrafting an Akari lamp. Bamboo stalks form the framework, and washi paper, which comes from the bark of the mulberry tree, is cut into strips, which are then glued to the bamboo structure. Artisan handcrafting an Akari lamp. Bamboo stems form the framework, and washi paper, which comes from the bark of the mulberry tree, is cut into strips which are then glued to the bamboo structure. © vitra /wp:image wp:paragraph In the second half of the 20th century, Japanese designers began to emancipate themselves from traditional Japanese craftsmanship and draw inspiration from Western modernism. The organic Scandinavian style is still a source of inspiration, as is the more radical and colourful Italian design of the 1960s. As in Western countries, priority was given to developing an industry capable of mass-producing furniture. The designer Isamu Kenmochi (1912-1971), associated with the Tendo Mokko company, embodied the creation and definition of Japanese industrial design. /wp:paragraph wp:image {"align": "center", "id":13259, "sizeSlug": "large", "linkDestination": "none"} Pair of "Kashiwado" cedar armchairs, designed by Isamu Kenmochi for Tendo Mokko, 1960s. Pair of "Kashiwado" cedar armchairs, Isamu Kenmochi design for Tendo Mokko, 60's. © 1sdibs /wp:image wp:image {"align": "center", "id":13260, "sizeSlug": "large", "linkDestination": "none"} Pair of rattan armchairs, "Rattan Furnitures" series, Isamu Kenmochi design, 1958. Pair of rattan armchairs, "Rattan Furnitures" series, designed by Isamu Kenmochi, 1958 © gallery-wa /wp:image wp:image {"align": "center", "id":13261, "sizeSlug": "large", "linkDestination": "none"} "Murai" wooden stool, designed by Reiko Tanabe (1934) for Tendo Mokko, created in 1960 and produced from 1966. Murai" wooden stool, designed by Reiko Tanabe (1934) for Tendo Mokko, created in 1960 and produced from 1966 onwards © gallery-wa /wp:image wp:paragraph A new generation of designers was breaking with the traditional codes of Japanese design; the most creative and daring was undoubtedly Shiro Kuramata (1934-1981), who made an international career designing furniture and outdoor architecture. A close friend of Ettore Sottsass, Kuramata did not hesitate to join the Memphis Group in 1981. /wp:paragraph wp:image {"align": "center", "id":13262, "sizeSlug": "large", "linkDestination": "none"} "Kyoto" pedestal table, design Shiro Kuramata for Memphis Milano, 1983. Kyoto" pedestal table, designed by Shiro Kuramata for Memphis Milano, 1983. Galerie Wauthier © Galerie Wauthier /wp:image wp:paragraph The Kuramata style? A design imbued with poetry and lightness, a desire to capture the "immaterial", which leads him to create singular works, seemingly far removed from those of his predecessors, but which refer back to certain major principles of traditional Japanese culture: sensitivity, elegance and sensoriality. Most of Kuramata's pieces are limited or rare editions. The Kuramata style? A design imbued with poetry and lightness, a desire to capture the 'immaterial', which leads him to create singular works, seemingly far removed from those of his predecessors, but which reflect certain major principles of traditional Japanese culture: sensitivity, elegance and sensoriality. Most of Kuramata's pieces are limited or rare editions. /wp:paragraph wp:image {"align": "center", "id":13263, "sizeSlug": "large", "linkDestination": "none"} "Miss Blanche" armchair, design: Shiro Kuramata, 1988. An iconic piece of late 20th century design. Incredibly poetic, this seat is made essentially of transparent plastic including rose petals... © designhome /wp:image wp:image {"align": "centre", "id":13264, "sizeSlug": "large", "linkDestination": "none"} Another iconic piece by Kuramata, in search of a certain immateriality: the "How High The Moon" armchair (1986). Made of metal latticework, the piece creates a play of transparency, light and shadow. Another iconic piece by Kuramata, in search of a certain immateriality: the armchair "How High The Moon" (1986). Made of metal latticework, the piece creates a play of transparency, light and shadow. Galerie Wauthier /wp:image wp:paragraph From Kuramata's generation came others who dared to create bold, original furniture: Masanori Umeda (1941), who was also part of the Memphis Memphis adventure; Toshiyuki Kita (1942), whose creative influence spread to become international; Arata Isozaki (1931); and Kazuhide Takahama, who produced for some of the biggest names in design: Knoll, Gavina, BB Italia, ... /wp:paragraph wp:image {"align": "center", "id":13265, "sizeSlug": "large", "linkDestination": "none"} "Ginza Robot cabinet", design: Masanori Umeda for Memphis Milano, 1982. Laminate on pressed cardboard, chrome: a mix of materials typical of the Memphis style. "Ginza Robot cabinet", design: Masanori Umeda for Memphis Milano, 1982. Laminate on pressed cardboard, chrome: a mix of materials typical of the Memphis style. © artsy /wp:image wp:image {"align": "center", "id":13266, "sizeSlug": "large", "linkDestination": "none"} "Wink 111" chaise longue for Cassina, design: Toshiyuki Kita, 1980. A great look for this seat with adjustable position. It has a steel frame and is upholstered in CFC-free expanded polyurethane foam and polyester wadding. Wink 111" chaise longue for Cassina, design: Toshiyuki Kita, 1980. Quite a look for this seat with adjustable position. The frame is made of steel and the upholstery of CFC-free expanded polyurethane foam and polyester wadding. architonic /wp:image wp:image {"align": "center", "id":13267, "sizeSlug": "large", "linkDestination": "none"} "Marylin" chair, design: Arata IsoZaki, 1972. A magnificent curved chair in wood and polyurethane, a tribute to the sexy curves of Marylin Monroe... "Marylin" chair, design: Arata IsoZaki, 1972. A magnificent curved chair in wood and polyurethane, a tribute to the sexy curves of Marylin Monroe... © ideat.thegoodhub /wp:image wp:image {"align": "center", "id":13268, "sizeSlug": "large", "linkDestination": "none"} "Suzanne" sofa system by Kazuhide Takahama for Knoll, 1968. Suzanne" sofa system by Kazuhide Takahama for Knoll, 1968. ideat.thegoodhub /wp:image wp:paragraph If you look closely, contemporary Japanese design is still very much alive and kicking. Born after 1950, Tomoyuki Sogiyama (1954), Shin Azumi (1965), Tokujin Yoshioka (1967) and the youngest Oki Sato (1977) embody the next generation of Japanese designers at the turn of the 21st century. This is hardly surprising for a country whose markets seem condemned to constant innovation. /wp:paragraph wp:image {"align": "center", "id":13269, "sizeSlug": "large", "linkDestination": "none"} "Lem" bar stool by LaPalma, design: Shin Azumi Tomoko Azumi, 2000. Lem" bar stool by LaPalma, design: Shin Azumi Tomoko Azumi, 2000. lamercanti /wp:image wp:image {"align": "center", "id":13270, "sizeSlug": "large", "linkDestination": "none"} "Blossom" vase, design by Tokujin Yoshioka for Louis Vuitton. Blossom" vase, Tokujin Yoshioka design for Louis Vuitton. louisvuitton /wp:image wp:image {"align": "center", "id":13271, "sizeSlug": "large", "linkDestination": "none"} 2 officials unveil the pink-gold Olympic flame for the Tokyo Games, designed by Tokujin Yoshioka. 2 officials unveil the pink-gold Olympic flame for the Tokyo Games, designed by Tokujin Yoshioka © huffingtonpost /wp:image wp:image {"align": "center", "id":13272, "sizeSlug": "large", "linkDestination": "none"} A Manga Chair by Nendo, the studio of Japanese designer Oki Sato. A Manga Chair by Nendo, the studio of Japanese designer Oki Sato © twitter /wp:image wp:image {"align": "center", "id":13273, "sizeSlug": "large", "linkDestination": "none"} "Manga Chair #47", design: Oki Sato for Nendo, 2015. Oki Sato is the leader of the new generation of Japanese design. "Manga Chair #47", design: Oki Sato for Nendo, 2015. Oki Sato is the leader of the new generation of Japanese design. © ideat.thegoodhub /wp:image wp:paragraph {"align": "right"} François Boutard François Boutard /wp:paragraph

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