Design of design
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Description
Book Introduction
What is design? Kenya Hara, a designer active in a wide range of fields, explores his own answer by reflecting on various projects he has been involved in, including the "Re-design" exhibition, the "Muji" brand, the "Matsuya Ginza" renewal, the Nagano Winter Olympics opening ceremony program, the "Aichi World Expo" promotion, and the "World Graphic Design Congress."
His proposal to pause for a moment and encounter the unknown everyday life contains a paradigm shift that renews the conventional design perspective.
This book, which designs the act of design through language, won the 26th Suntory Academic Award, with the praise of "a clear sensibility" that suggests the possibilities of design.
His proposal to pause for a moment and encounter the unknown everyday life contains a paradigm shift that renews the conventional design perspective.
This book, which designs the act of design through language, won the 26th Suntory Academic Award, with the praise of "a clear sensibility" that suggests the possibilities of design.
- You can preview some of the book's contents.
Preview
index
Chapter 1 - What is Design?
Listening to the Scream / The Origin of Design / The Integration of Design / Design in the Late 20th Century / Standardization and Mass Production / Style Change and Identity / Thought and Brand / The Humor of Postmodernism / Computer Technology and Design / Modernism and Its Future
Chapter 2 - Redesign - Everyday 21st Century
Making the Everyday Unknown / Art and Design / Redesign Exhibition / Shigeru Ban and Toilet Paper / Masahiko Sato and Immigration Stamps / Kengo Kuma and Cockroach Traps / Kaoru Mende and Matches / Kosuke Tsumura and Diapers / Naoto Fukasawa and Tea Bags / Design Exhibitions Traveling the World
Chapter 3 - The Architecture of Information
Realm of the Senses / Architecture of Information / Nagano Winter Olympics Opening Ceremony Program / Hospital Signage Plan / Matsuya Ginza Renewal Project / Sculpture of Information, Book
Chapter 4 - Nothing, Yet Everything
Inherited from Itko Tanaka / The Beginning and Challenges of MUJI / Not '- this' but '- to' / WORLD MUJI / EMPTINESS / Placing the Logo on the Horizon / In Search of the Horizon
Chapter 5 - The Education of Desire
The future of design / Changes in corporate values / The evolving role of makers / Precisely scanning the market / Education of desire / Japanese living environment / Enriching the soil of Japan's field / Design with a broad perspective
Chapter 6 - I Live in Japan
I want to know more about Japan / 『In Praise of Shadows』 is a model of design / Re-creating a mature culture / Waiting for what nature gives - 'Gajoen' and 'Forest of the Sky' / Reviving Japan's good quality through the eyes of the world - 'Obusedo' / Digging into the meaning of nothing - 'Mukayu' / Fengjing is a resource that creates attraction
Chapter 7 - The Fair That Could Have Been Held
Early Concepts and 'Nature's Prophecy' / Japan's Potential for Ecology / What Was in That Forest? / Landscapes of Design Linking Past and Future / Characters Made of Friendly Nature and Life / Self-Replicating Media / Unfinished Projects
Chapter 8 - Reconfiguring the Design Domain
World Graphic Design Conference / Awakening of Design / Design and Information / The Beauty of Information / Life Science and Beauty / Three Concepts Surrounding Information and Design / VISUALOGUE / To the Generation Beginning to Walk Again
Listening to the Scream / The Origin of Design / The Integration of Design / Design in the Late 20th Century / Standardization and Mass Production / Style Change and Identity / Thought and Brand / The Humor of Postmodernism / Computer Technology and Design / Modernism and Its Future
Chapter 2 - Redesign - Everyday 21st Century
Making the Everyday Unknown / Art and Design / Redesign Exhibition / Shigeru Ban and Toilet Paper / Masahiko Sato and Immigration Stamps / Kengo Kuma and Cockroach Traps / Kaoru Mende and Matches / Kosuke Tsumura and Diapers / Naoto Fukasawa and Tea Bags / Design Exhibitions Traveling the World
Chapter 3 - The Architecture of Information
Realm of the Senses / Architecture of Information / Nagano Winter Olympics Opening Ceremony Program / Hospital Signage Plan / Matsuya Ginza Renewal Project / Sculpture of Information, Book
Chapter 4 - Nothing, Yet Everything
Inherited from Itko Tanaka / The Beginning and Challenges of MUJI / Not '- this' but '- to' / WORLD MUJI / EMPTINESS / Placing the Logo on the Horizon / In Search of the Horizon
Chapter 5 - The Education of Desire
The future of design / Changes in corporate values / The evolving role of makers / Precisely scanning the market / Education of desire / Japanese living environment / Enriching the soil of Japan's field / Design with a broad perspective
Chapter 6 - I Live in Japan
I want to know more about Japan / 『In Praise of Shadows』 is a model of design / Re-creating a mature culture / Waiting for what nature gives - 'Gajoen' and 'Forest of the Sky' / Reviving Japan's good quality through the eyes of the world - 'Obusedo' / Digging into the meaning of nothing - 'Mukayu' / Fengjing is a resource that creates attraction
Chapter 7 - The Fair That Could Have Been Held
Early Concepts and 'Nature's Prophecy' / Japan's Potential for Ecology / What Was in That Forest? / Landscapes of Design Linking Past and Future / Characters Made of Friendly Nature and Life / Self-Replicating Media / Unfinished Projects
Chapter 8 - Reconfiguring the Design Domain
World Graphic Design Conference / Awakening of Design / Design and Information / The Beauty of Information / Life Science and Beauty / Three Concepts Surrounding Information and Design / VISUALOGUE / To the Generation Beginning to Walk Again
Into the book
Just by resting your chin lightly on the desk, the world looks different.
There are countless ways to see and feel things.
Design is the conscious reflection of countless ways of seeing and feeling into everyday objects and communication.
There are countless ways to see and feel things.
Design is the conscious reflection of countless ways of seeing and feeling into everyday objects and communication.
--- From the preface
At some point, I began to think of myself as a ‘designer.’
This wasn't the case 20 years ago when I first started doing this.
Although I work in design as a profession, I thought of myself as something a little different than a 'designer'.
The reason I came to think that way is probably because, deep in my mind, I had the image of a socially accepted designer, that is, not an artist with outstanding talent for expression, but rather a person who makes a living by working on the concept of design.
I've written about how I felt at that time like this before.
“I am a designer, but the ‘-you’ part of designer does not mean that I have outstanding qualities, but rather that I am a ‘person who serves’ the concept of design.
“Just like a gardener is called a gardener, someone who cleans or maintains the garden of design.” In other words, I felt that I needed to have a different attitude from an artist or creator in order to approach design with my own attitude.
Now, I consider myself a 'designer', including both myself as an artist and myself as a researcher.
As I have been working on the concept of design, I have been able to include many different things.
The act of writing would also fall into that category.
At some point, I began to think of myself as a ‘designer.’
This wasn't the case 20 years ago when I first started doing this.
Although I work in design as a profession, I thought of myself as something a little different than a 'designer'.
The reason I came to think that way is probably because, deep in my mind, I had the image of a socially accepted designer, that is, not an artist with outstanding talent for expression, but rather a person who makes a living by working on the concept of design.
I've written about how I felt at that time like this before.
“I am a designer, but the ‘-you’ part of designer does not mean that I have outstanding qualities, but rather that I am a ‘person who serves’ the concept of design.
“Just like a gardener is called a gardener, someone who cleans or maintains the garden of design.” In other words, I felt that I needed to have a different attitude from an artist or creator in order to approach design with my own attitude.
Now, I consider myself a 'designer', including both myself as an artist and myself as a researcher.
As I have been working on the concept of design, I have been able to include many different things.
The act of writing would also fall into that category.
This wasn't the case 20 years ago when I first started doing this.
Although I work in design as a profession, I thought of myself as something a little different than a 'designer'.
The reason I came to think that way is probably because, deep in my mind, I had the image of a socially accepted designer, that is, not an artist with outstanding talent for expression, but rather a person who makes a living by working on the concept of design.
I've written about how I felt at that time like this before.
“I am a designer, but the ‘-you’ part of designer does not mean that I have outstanding qualities, but rather that I am a ‘person who serves’ the concept of design.
“Just like a gardener is called a gardener, someone who cleans or maintains the garden of design.” In other words, I felt that I needed to have a different attitude from an artist or creator in order to approach design with my own attitude.
Now, I consider myself a 'designer', including both myself as an artist and myself as a researcher.
As I have been working on the concept of design, I have been able to include many different things.
The act of writing would also fall into that category.
At some point, I began to think of myself as a ‘designer.’
This wasn't the case 20 years ago when I first started doing this.
Although I work in design as a profession, I thought of myself as something a little different than a 'designer'.
The reason I came to think that way is probably because, deep in my mind, I had the image of a socially accepted designer, that is, not an artist with outstanding talent for expression, but rather a person who makes a living by working on the concept of design.
I've written about how I felt at that time like this before.
“I am a designer, but the ‘-you’ part of designer does not mean that I have outstanding qualities, but rather that I am a ‘person who serves’ the concept of design.
“Just like a gardener is called a gardener, someone who cleans or maintains the garden of design.” In other words, I felt that I needed to have a different attitude from an artist or creator in order to approach design with my own attitude.
Now, I consider myself a 'designer', including both myself as an artist and myself as a researcher.
As I have been working on the concept of design, I have been able to include many different things.
The act of writing would also fall into that category.
--- From the reviews
Publisher's Review
What is design?
To answer this fundamental yet difficult question about design, Kenya Hara first examines another perspective within the flow of the concept of design from its inception to the present day.
Just as the delicate aesthetic sense against crude machine production triggered the emergence of design as a way of thinking and sensibility in society, countless design possibilities lie dormant in our familiar daily lives.
Creativity isn't just about creating something out of nothing.
Design is the originality that constantly draws out ideas that are ordinary yet subtly surprising from the cracks of life.
The design projects introduced in this book are, in their own way, experiments in this regard.
Demystifying the everyday
The 'Redesign' exhibition is a project that seeks to discover the reality of design confirmed throughout history by opening our eyes and ears wide and discovering new questions in our daily lives.
We commissioned architects, product designers, graphic designers, fashion designers, and photographers with clear ideas to redesign extremely everyday objects like toilet paper and matches.
This is not a proposal to improve everyday design by borrowing the hands of excellent creators.
It is a task of discovering the essence of design through a difference in thinking that is clearly different from existing designs.
The colorful achievements are presented in writing and photos.
Kenya Hara believes that designers build information into the brain, which receives a complex of sensations or images.
The architecture utilizes not only stimuli coming from various sensory channels, but also memories awakened by them as material.
From this perspective, the Nagano Olympics opening ceremony program developed and used paper that evokes images of snow and ice as a medium to remember the Winter Olympics.
The sign made of cloth at Umeda Hospital imprints the message in people's minds that white cloth, which is prone to getting dirty, should be kept clean.
In the renewal of 'Matsuya Ginza', the tactile sensation of materials that richly stimulate the senses was introduced into the design, reconstructing the department store itself, which exists as an object, into a media that can be experienced through touch.
With the advancement of technology, if digital media is now a practical tool for conveying information, then books are designed with the idea that they are sculptures of information.
Design is not dependent on the media, but rather acts to explore the essence of the media.
Where should design be headed? Muji, under the art direction of Kenya Hara, aims to create a freshness in everyday life through designs that explore extremely simple forms and avoid unnecessary effort.
The advertisement chose the horizon as a concept that contained people's thoughts about Muji rather than sending a message.
But the horizon is an empty vessel.
It may capture the thoughts of those who see it, but it is not the vision itself.
So the author argues for the ‘education of desire.’
We aim to create designs that respond to market demands while subtly appealing to consumers' aesthetic sense, thereby creating a learning effect there.
It is said that the ideal role of design is not to capture people's attention with visuals, but to penetrate and engage their five senses.
Design is not intelligence, but rather the sensibility and insight to discover the essence of things.
Therefore, the designer's consciousness must always be sensitive and alert to society.
As times change, there is a need to redeploy design to its appropriate place in the world.
Kenya Hara's sensibility provides a foundation for the present of these designs.
Design the design
Kenya Hara said that while writing this book, he realized that explaining design through words or writing is another form of design.
I believe that verbalizing design as an act is also one of the design acts that confronts society.
Because design deals with very delicate sensibilities, it requires a language that can convey that delicacy to others.
This book seeks to connect with people who are interested in such design language.
To answer this fundamental yet difficult question about design, Kenya Hara first examines another perspective within the flow of the concept of design from its inception to the present day.
Just as the delicate aesthetic sense against crude machine production triggered the emergence of design as a way of thinking and sensibility in society, countless design possibilities lie dormant in our familiar daily lives.
Creativity isn't just about creating something out of nothing.
Design is the originality that constantly draws out ideas that are ordinary yet subtly surprising from the cracks of life.
The design projects introduced in this book are, in their own way, experiments in this regard.
Demystifying the everyday
The 'Redesign' exhibition is a project that seeks to discover the reality of design confirmed throughout history by opening our eyes and ears wide and discovering new questions in our daily lives.
We commissioned architects, product designers, graphic designers, fashion designers, and photographers with clear ideas to redesign extremely everyday objects like toilet paper and matches.
This is not a proposal to improve everyday design by borrowing the hands of excellent creators.
It is a task of discovering the essence of design through a difference in thinking that is clearly different from existing designs.
The colorful achievements are presented in writing and photos.
Kenya Hara believes that designers build information into the brain, which receives a complex of sensations or images.
The architecture utilizes not only stimuli coming from various sensory channels, but also memories awakened by them as material.
From this perspective, the Nagano Olympics opening ceremony program developed and used paper that evokes images of snow and ice as a medium to remember the Winter Olympics.
The sign made of cloth at Umeda Hospital imprints the message in people's minds that white cloth, which is prone to getting dirty, should be kept clean.
In the renewal of 'Matsuya Ginza', the tactile sensation of materials that richly stimulate the senses was introduced into the design, reconstructing the department store itself, which exists as an object, into a media that can be experienced through touch.
With the advancement of technology, if digital media is now a practical tool for conveying information, then books are designed with the idea that they are sculptures of information.
Design is not dependent on the media, but rather acts to explore the essence of the media.
Where should design be headed? Muji, under the art direction of Kenya Hara, aims to create a freshness in everyday life through designs that explore extremely simple forms and avoid unnecessary effort.
The advertisement chose the horizon as a concept that contained people's thoughts about Muji rather than sending a message.
But the horizon is an empty vessel.
It may capture the thoughts of those who see it, but it is not the vision itself.
So the author argues for the ‘education of desire.’
We aim to create designs that respond to market demands while subtly appealing to consumers' aesthetic sense, thereby creating a learning effect there.
It is said that the ideal role of design is not to capture people's attention with visuals, but to penetrate and engage their five senses.
Design is not intelligence, but rather the sensibility and insight to discover the essence of things.
Therefore, the designer's consciousness must always be sensitive and alert to society.
As times change, there is a need to redeploy design to its appropriate place in the world.
Kenya Hara's sensibility provides a foundation for the present of these designs.
Design the design
Kenya Hara said that while writing this book, he realized that explaining design through words or writing is another form of design.
I believe that verbalizing design as an act is also one of the design acts that confronts society.
Because design deals with very delicate sensibilities, it requires a language that can convey that delicacy to others.
This book seeks to connect with people who are interested in such design language.
GOODS SPECIFICS
- Date of issue: February 27, 2007
- Page count, weight, size: 241 pages | 335g | 128*188*20mm
- ISBN13: 9788970593029
- ISBN10: 8970593020
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