Today’s meditation on all things Japanese looks at some aspects of Japanese design. Japanese design is absolutely unique in its outlook, application and its thorough integration into all aspects of the Japanese culture. Having never been to view this first-hand I know that the previous statements may be incorrect but they are certainly indicative of my current perception. Maybe Japanese design does not pervade Japanese society at every level – yeah, but we all know that’s not true. Amongst cultures known for their design – such as the Nordic countries of Sweden and Denmark, the flamboyantly sophisticated Italians and the quirky traditionalism of the UK – the Japanese are, arguably, pre-eminent.
From the most humble item to the most elaborate and stylish the Japanese have considered form, function and material and merged these with simplicity to create timeless classics. Good design is able to transcend all of its separate elements and produce an item that is not only ideally suited to its task but is also a thing of great intrinsic aesthetic beauty. From cars and motorcycles to cups and dishes, clothes to computers, buildings to temples, food to gardens – the pervasive sense of “Japanese -ness” seems to somehow emanate from all of these items. In part, it is to do with a very clever and unique paring down process – simplification and attention to detail, the use of sometimes subdued colour and a great awareness of ergonomics and shape. And in part it seems to be pure magic. As if the items grew like that without the interference of human hand.
Undoubtedly the choice and use of materials is very important. The Japanese seem to have an inherent comprehension of materials and their innate characteristics; how some materials are hard and implacable, some are soft and malleable and some are crisp and precise. There seems to be an awareness of nature in this sophisticated mix as well. It may seem a discordant note to bring into this discussion but an awareness of seasons, materials and environment is also a very Japanese quality in design terms. They seem attuned to recognise shapes and patterns in nature and to include these into their use of a material in a seemingly effortless way. This is particularly noticeable in their clothing and in may old items of kitchenware and tools. Only the Japanese would come up with the notion of square drinking or serving vessels that hold round food. Or round vessels holding square food. Such attention to aesthetics is verging on OCD! But it is rationalised as an attempt to balance many disparate elements into one harmonious whole. Much of Japanese design strives towards this end. And here again we see the strands of philosophical outlook influencing use of materials, shape and design.
As this blog is about why we would like to go to Japan I can truthfully say that one of the main reasons I would like to make this pilgrimage is to see the design.
I don’t mean to go to a design museum – although I have no complaint about that as a place to start – but I really mean how design manifests itself on the streets. How it is included in the day to day of people’s lives; the shape of spoons in a coffee shop, the prevalent aesthetic of shopping centres, the racks of clothes in a street stall, the shape of vending machines, the look of cameras in shop windows, the seating in a trendy bar or nightclub. All the multitudinous ways in which a modern, hyperactive society expresses itself and its collective aspirations.
These subliminal impressions are harvested as one goes about a new country – they form the background through which one establishes an understanding or rapport with that new environment. In essence they are the many small triggers that continually accrue in your consciousness building impressions of a place and a culture. And it is all complicatedly mixed up. Not all simple and straightforward. Messy and impressionistic and dead good fun. Would love to be able to do it in Japan.
Twelve Good Reasons 