Download - Japanese Designers

8/18/2019 Japanese Designers

1/36

JAPANESE DESIGNERSCASE STUDY | DESIGNERS | PRODUCTS | PHILOSOPHY


2/36


3/36

Japanese

Architecture

climate

BuddhismChina


4/36

ROOF IS MADE OF HEAVY TIMBERS

MADE OF WOOD

POST-AND-LINTEL STRUCTURE

INTERIOR - MULTITUDE OF PARTIALLY-

SCREENED, GEOMETRICALLY-ARRANGED

ROOMS WITH SLIDING DOORS

BUILT WITH FEW NAILS OR SOMETIMES

NONE


5/36

Features of Traditional

Japanese Home• MADE OF WOOD

• HAS TATAMI MAT FLOORS

• SLIDING SHOJI DOORS

• COFFERED CEILING

• LATH-AND-PLASTER WALLS

• TOKONOMA (DISPLAYALCOVES)

• GENKAN(ENTRANCE)


6/36

SMALL BUILDINGS

THATCHED ROOFS

DIRT FLOORS(MADE OF WOOD IF THEAREA IS HUMID)

Reconstructed st


7/36

“Asuka period”

• the term was first used to describe a period in the historyfine-arts and architecture

• was influenced by the introduction of Buddhism from ChKorean Peninsula

Asuka Period


8/36

The Main

Worship Hall

- usually found at thecenter of the templegrounds

- Inside are images ofthe Buddha, other

Buddhist images, analtar or altars withvarious objects andspace for monks andworshipers.

Main Worship Hall(Kondo)

Asuka Period


9/36

Five Story Pagoda

have five storiesrepresent the fiveelements :

Earth, Water, Fire,Wind, Sky

The Five Story


10/36

Shinto Shrines

-places ofworship and thedwellings of

the kami, theShinto "gods“

Main Features:

• Komainu

• Torii

• Chozuya

• Main sanctuary


11/36

shinden-zukuri

- the style wascharacterised bysymmetrical

buildings placedas arms thatdefined an innergarden

Shinden-Zukuri


12/36

Kamakura Period•The Japanese Political power was run by Samuri.

•Many houses were just plain, symmetrical, andcontained trenches but they were simple and sturdy.


13/36

Sanju-Sangen-Do

-Hall with thirtythree spaces

between

columns

- contains 1,000life-size statues of

the Thousand

Armed Kannon

The Thousand Armed Kannon


14/36

Tea House•For tea cermonies•Must have anatmosphere of calmand meditation•The only adornmentwas a hanging scrollwith calligraphy or aflower arrangement

Tea House


15/36

Azuchi-Momoyama Period

In response to a militaristic time, the castle, a

structure, was built to keep out intruders or atta


16/36

Defense features:•elaborate mazes

of halls, corridorsand tunnels•Defensive wallswith triangularand circular holesfor firing arrowsand guns, forpouring boiling oil

and rocks


17/36

Himeji Castle

• the best ofJapan's castles

• one of the fewwith some its

original interiorand exterior

intact.

• was built byIkeda Terumasa.

• It has managedto avoid beingdestroyed by afire or natural

disaster and wasnever attacked. Himeji Castle aka White Heron Castle

Azuchi-Momoyama


18/36

This period brought back a lot ofclassic Japanese architecture.

The city of Edo was struck by fires

repeatedly so architecture wassimplified to allow for easy rebuilding.

Enhanced Architecture:• Machiya (townhouses)

Typical Machiya

Edo Period


19/36

• Emperor Meijitook charge,new anddifferent forms ofculture movedinto Japan.

• Europeaninfluences slowlymanaged to

work their way toarchitecture.

Nara National Museum

Meiji Period


20/36

•Change in technologygreatly affected thearchitecture.•After World War II a lot ofJapan had to be rebuilt,but the new Japan lookedmuch different than oldJapan.•The styles went from big,rectangular prisms to longand tall skyscrapers.

Modern Architecture


21/36


22/36

The Industrial Revolution:Japan 1868-1912


23/36

WORK ENVIRONMENT OF JAPAN

Many both in and outside Japan share an image of the Japaenvironment that is based on a "simultaneous recruiting of negraduates" and "lifetime-employment" model used by large cwell as a reputation of long work-hours and strong devotion tcompany.

https://en.wikipedia.org/wiki/Japanhttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Lifetime-employmenthttps://en.wikipedia.org/wiki/Lifetime-employmenthttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Lifetime-employmenthttps://en.wikipedia.org/wiki/Simultaneous_recruiting_of_new_graduateshttps://en.wikipedia.org/wiki/Japan


24/36

VISIT TO XXI TRIENNALE INTERNATIONAL EXHIBITION

THEME – SUBTLES U B T L E Paper, how we feel an awakened world

SUBTLE is a concept word that they came up with to expressthose properties of paper, a word with the meanings ofdelicate, slight, or surpassing description. Based on thistheme, we would like to delve into the possibilities of humanbeings and paper on a new horizon.

This exhibition is an experimental exploration torecapture the allure of paper within a contemporarycontext. While considering the essence of paper's power

to attract people we began to realize the significant quality that has been

continuously awakening and nurturing people's delicatesensibilities.

Paper as a medium has kept developing and fosteringhuman sensibilities that are so exquisitely keen anddelicate that they can identify and distinguishdifferences in colour or aroma that even a state-of-the-art sensor can not, and perceive infinitesimal differencesthat even precision equipment can not detect

KENYA HARA, Exhibition Director

https://www.google.it/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&ved=0ahUKEwiks4mZ8JfMAhUCXBQKHVh3A8MQFghCMAY&url=http://www.designduemila.com/xxi-triennale-international-exhibition-milan-2016&usg=AFQjCNF0v8JCN1MbkAyWpkjWeOWkBnDJKA&sig2=X_21MA7nfLjtZtMx0mmokg&bvm=bv.119745492,d.bGg&cad=rjahttps://www.google.it/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&ved=0ahUKEwiks4mZ8JfMAhUCXBQKHVh3A8MQFghCMAY&url=http://www.designduemila.com/xxi-triennale-international-exhibition-milan-2016&usg=AFQjCNF0v8JCN1MbkAyWpkjWeOWkBnDJKA&sig2=X_21MA7nfLjtZtMx0mmokg&bvm=bv.119745492,d.bGg&cad=rjahttps://www.google.it/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&ved=0ahUKEwiks4mZ8JfMAhUCXBQKHVh3A8MQFghCMAY&url=http://www.designduemila.com/xxi-triennale-international-exhibition-milan-2016&usg=AFQjCNF0v8JCN1MbkAyWpkjWeOWkBnDJKA&sig2=X_21MA7nfLjtZtMx0mmokg&bvm=bv.119745492,d.bGg&cad=rjahttps://www.google.it/url?sa=t&rct=j&q=&esrc=s&source=web&cd=7&ved=0ahUKEwiks4mZ8JfMAhUCXBQKHVh3A8MQFghCMAY&url=http://www.designduemila.com/xxi-triennale-international-exhibition-milan-2016&usg=AFQjCNF0v8JCN1MbkAyWpkjWeOWkBnDJKA&sig2=X_21MA7nfLjtZtMx0mmokg&bvm=bv.119745492,d.bGg&cad=rja


25/36


26/36

THE DESIGN

VOLUME

•THE SPACE AND LIGHT

•TENSION CREATED BY

THE VOLUME BALANCEDBY THE PRESENTATION

VISUALCONNECTION

•THREAD AND NEEDLE TOCONNECT THE PERIPHERY

•WHITE DESK AND

OFFWHITE PRESENTATION

PATIENCE ANDHARDWORK

•THREAD BY THREAD ANDNEEDLE BY NEEDLE

•RING BY RING

INFERENCES


27/36

PATIENCE


28/36

PAPER CAN FLY MORE SUBTLE,CENTRE OF GRAVITY CAN MAKE OBJECTS FLY

• I investigated shapes of paper that could fly, experimenting to discover the forms of the flight paths thaleaving my hand to the point where they landed.

• The appearance of paper hanging in mid-air without its own motive power has a distinct charm.

• The paper may only defy gravity for a few seconds, but that event embodies one of paper's attraction• Paper made into a flying object and dropped remains a loft much longer than an ordinary rectangula

the same weight.

• Differences in the basis weight, size, folds, and fastening methods affect attitude, speed, and path as a

• Simply folding the paper a little makes it waft gently down to ground, but in the shape of an airplane itground for a long distance.

• By adjusting the centre of gravity, it can describe arcs as it dances in the air.

• Using these techniques and controlling the object through fine adjustments, I tried to find an exquisite bto beautiful flight.


29/36


30/36


31/36

Kenji EkuanJapanese industrial designer

best known for creating the design of the Kikkoman soy sauce bottle.

Design is a source of life enhancement , That is the motto ofthe Japanese industrial designer, Kenji Ekuan, who has played

an important part in shaping Japanese packaging and logo

design over the years.

Functionality meets aesthetic appealThe 150 ml bottle was developed in 1961 and its popularity remainsundiminished today. Featuring a curved silhouette and unobtrusivelettering, the bottle’s simplicity, elegance and modernity make it agenuinely eye-catching object

The perfectly shaped pourer enables the precise and clean dispensing of smallquantities or even single drops of soy sauce without drips

Thanks to its screw-off cap and dishwasher-safe material, the designer bottle canbe re-used over and over again, providing the user with enjoyment for years onend

Simply pour Kikkoman naturally brewed soy sauce out of the standard bottle’swide opening into the dispenser for stylish seasoning at the dining table.

https://en.wikipedia.org/wiki/Soy_saucehttps://en.wikipedia.org/wiki/Soy_saucehttps://en.wikipedia.org/wiki/Soy_saucehttps://en.wikipedia.org/wiki/Soy_saucehttps://en.wikipedia.org/wiki/Soy_saucehttps://en.wikipedia.org/wiki/Kikkoman


32/36

Kenji EkuanJapanese industrial designer


33/36


34/36


35/36


36/36